G.I. Joe: A Real American Hero #308 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 308, July 2024

Contending with a colossally-large cast of characters, Larry Hama’s pulse-pounding plot for Issue Three Hundred and Eight of “G.I. Joe: A Real American Hero” surely shows just how well the Vietnam War veteran can provide a twenty-page periodical with an enthralling mixture of fast-paced punch-ups, strategic bombing runs and military jargon. True, this particular comic doesn’t contain all that much adrenalin-fuelled action – except for when Helix and her deadly Recon Team decide to escape the clutches of Cobra Island’s Casino. But its various dialogue-driven scenes still do a great job in largely keeping the audience hooked by bringing all the warring parties together on the outskirts of Springfield just as Serpentor Khan’s enhanced mutant, cyborg Cobra troopers crash-land upon its suburbs.

Indeed, the quiet hum of the Revanche-designed aeroplanes heading towards ground zero with their deadly payloads palpably throbs throughout all of this publication’s proceedings, constantly reminding the audience that the likes of Duke’s “whole ninja team”, as well as Destro’s beloved Baroness, are haplessly heading straight into a death-trap; “That’s a world of hurt those bad boys are bringing down on Cobra Central.”

Equally as enjoyable as this magazine’s tangible sense of events fatefully bringing all the central players together in one place, is the New York City-born writer’s sheer sense of fun. As opposed to the heavy nature of Dawn Moreno’s van ride in which the death of her parents hangs heavy in the air, Muskrat, Wet Suit and Multo’s incarceration is packed full of smile-inducing gags, as well as a genuine laugh-out-loud nod to George Lucas’ 1977 “Star Wars” film when Doctor Mindbender encounters the disguised G.I. Joes rifling through his laboratory’s papers and bemusingly exclaims “Aren’t you a little short to be a Viper?”

Impressively switching between all these sense-shattering shenanigans and word-heavy exchanges is Paul Pelletier, who interestingly appears to prefer pencilling the Recon Team’s escape from something of a distance, whilst getting up nice and close and personal when it comes to drawing the various discussions. This technique really helps bring the audience right into the conversations, almost as if they were actually inside the driver’s cab of Zartan’s ‘Frozen Haggis’ lorry, or sat alongside Scarlett and Storm Shadow during their ill-fated journey to Springfield.

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #307 by Andy Kubert & Brad Anderson

G.I. Joe: A Real American Hero #307 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 307, June 2024

Quite marvellously interweaving a number of different plot-threads together within the space of this twenty-page periodical, Larry Hama’s storytelling for Issue Three Hundred And Seven of “G.I. Joe: A Real American Hero” probably had most of the military science fiction franchise’s fans frothing at the mouth in absolute delight. In fact, despite the somewhat head-spinning number of different operatives in play, ranging from Scarlett, Storm Shadow and Snake-Eyes at the Pit, to the likes of Helix, Muskrat and Wet-Suit conducting covert reconnaissance duties on Cobra Island, the enjoyable straightforwardness of Great Serpentor Khan’s plan to devastate Springfield with a squadron of heavy stealth bombers is genuinely easy to grasp.

Furthermore, the grand, sweeping nature of Cobra’s overall goal is nicely contrasted with the adrenalin-fuelled action of a much more local affair, when Duke’s team is discovered by Khan’s cyborg warriors spying upon Revanche’s heavily modified VTOL aeroplanes. This chase sequence is as pulse-poundingly paced as it is packed full of armoured vehicles, and provides both sides of the battle with plenty of opportunities to show off their combat skills, as well as the deadly nature of their advanced weaponry; “Their visual receptors are their wink link. You can’t armour an eye socket.!”

The American author is also very good at injecting a palpably poignant moment into this magazine, courtesy of poor Dawn Moreno discovering that her parents have been brutally gunned down by Vipers during a botched traffic-stop. So strong an emotional connection with the audience is arguably incredibly difficult to deliver when it comes to comics, especially when the book is based upon a range of “Hasbro” toy action figures. However, even the most hard-hearted of bibliophiles will surely crumble at the sight of poor “Female Snake Eyes” nursing a hot drink whilst being told the dreadful news.

Just as successful as this publication’s writing is Paul Pelletier’s pencilling, who impressively captures all the desperate determination of Wet-Suit’s squad during the aforementioned chase sequence. In addition, the “superstar artist” appears particularly prodigious at sketching bouncing buggies and tracked vehicles smashing their way through thick jungle growth, with his panels’ multitude of air-to-surface missiles, death-dealing bullets, and tank-slicing laser beams bringing plenty of pace to the proceedings in between a few of the more sedentary, dialogue-heavy scenes.

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #307 by Andy Kubert & Brad Anderson

Destro #5 - Image Comics

DESTRO No. 5, October 2024

Pushed by its Portland-based publisher as depicting “the most dangerous powers in the Energon Universe [being] at war” with one another, fans of Hasbro’s “G.I. Joe” franchise most likely found this mini-series’ finale rather disheartening. True, Dan Watter’s narrative for Issue Five of “Destro” does show the titular character pummelling his way through the Crimson Twins at the M.A.R.S. Industries Headquarters. But this enjoyably lengthy bout of fisticuffs doesn’t debatably amount to anything other than giving the Scottish leader of the Iron Grenadiers the satisfaction of physically beating down some rivals before allowing Xamot and Tomax to live.

Indeed, the promise of the mysterious Cobra Commander participating in the brutal contest doesn’t even occur, with the fanatical terrorist simply looking on from the side-lines as a spectator; “I am keeping my options open, Destro.” This distinct lack of consequences to the highly-anticipated confrontation sadly sucks all the life out of the comic, if not the entire mini-series, and lamentably transpires just when the arrogant brothers appear to be about to get their well-deserved comeuppance, having arrogantly strolled straight into the armament’s factory only to unexpectedly find its founder still alive and well.

Similarly as dissatisfying though, is arguably this twenty-two page periodical’s conclusion, which sees James McCullen Destro XXIV somewhat bizarrely pardon his would-be-murderers, and then actually offer them (as well as Cobra) an alliance so as “to keep the world in a state of perpetual war.” Considering that the Crimson Twins had literally just tried to kill him with a garrotte, such forgiveness may strike many a bibliophile as being fairly unfathomable - albeit the weapons manufacturer is later depicted as having an intimate relationship with Astoria Carlton Ritz, who had also previously gone to great lengths to assassinate him.

However, what doesn’t disappoint are Andrei Bressan’s layouts, which do a cracking job in representing the savage speed of Laird Destro’s frantic fight. Onlookers should easily be able to imagine the pain inflicted by the man’s solidly-struck punches, as well as his momentary desperation when one of his attackers manages to get behind him with a deadly ligature. Furthermore, the Brazilian illustrator’s handling of Chameleon’s well-co-ordinated strike against the Crimson Guard shows all the efficiency expected for a successful military operation by highly-experienced operatives.

The regular cover art of "DESTRO" #5 by Andrei Bressan and Adriano Lucas

Destro #4 - Image Comics

DESTRO No. 4, September 2024

Pedantically plodding, as well as somewhat illogical when it comes to the motivation of the Crimson Twins in wanting to buy M.A.R.S. Industries with a “really big cheque” despite the evident “unmarketable” deficiencies of the company’s B.A.T.S. project, Dan Watters narrative for Issue Four of “Destro” was probably seen by many readers as an example of sluggish storytelling. Indeed, apart from a fleeting example of the aforementioned deadly, though utterly undeployable “fully functioning autonomous soldiers” gunning one another down, and an incredibly brief physical spate involving Astoria Carlton Ritz, this particular twenty-page periodical is practically devoid of any action.

Instead, its plot is infuriatingly padded out with conversation after conversation, or even worse – the titular character writing a long letter to Major Flagg, thanking the United States of America’s military for being “so very naughty.” Such sequences would ordinarily have been fine if interspersing the high-octane dramatics normally associated with Hasbro's "G.I. Joe" media franchise. But when each dialogue-driven scene simply runs into another, with absolutely no respite, then many a bibliophile will surely start to struggle to make it through this entire comic book in a single session; “Honestly, you’re going to make me start to think that rich white board members of billion-dollar-valued tech companies can’t party.”

Of course, that isn’t to say that this mini-series’ penultimate instalment doesn’t have any merits, as the revelation that Ritz’s sentient Artificial Intelligence is behind the assassinate attempts upon Destro is definitely an intriguing, surprise twist. However, even something as enthralling as a warmongering computer arbitrarily deciding “how to end war on Earth” arguably loses a tremendous amount of its impact when such a disclosure occurs amidst a rather tiresome nineteen panel long discussion.

Quite possibly just as uninspired by this sedentary script is Andrei Bressan, who appears to have ‘won’ the lion’s share for padding this publication out to its required length. The Brazilian artist is clearly trying his very best to do so, as seen with his drawings of Astoria desperately attempting to outfox Destro by running through a luxurious nightclub. Yet even so proficient a penciller as him can’t manage to imbue all that much interest in a carousel of verbal exchanges, where the majority of the cast just scowl at one another whilst talking.

Writer: Dan Watters, Artist: Andrei Bressan and Colorist: Adriano Lucas

Creepshow [2024] #1 - Image Comics

CREEPSHOW No. 1, September 2024

Pushed by “Skybound Entertainment” as being “creepier than ever”, this opening instalment to the third volume of “Creepshow” probably struck many a reader as being a rather hit and miss affair with its supposedly spine-chilling contents – most notably due to the arguable lack of logic or dread occurring within its first story by Chip Zdarsky. In fact, “Let ‘Er Trip” is debatably just plain odd as a desperate mother tracks down her errant eighteen-year old daughter to a local cult, and then inexplicably guts all of the sect’s knife-wielding zealots using the repressed power of her mind; “I shoulda lowered my dosage -- GK!!” 

True, the Canadian writer’s script certainly allows artist Kagan McLeod to pencil plenty of decapitations, eviscerations and innards-splattering sequences towards the tale’s cataclysmic conclusion. But just why taking a mouthful of mushrooms should suddenly imbue the housewife with such phenomenal powers is never properly explained, even by the Creep, and certainly doesn’t seem to live up to the publisher’s “guarantee” of this Eisner Award nominated horror anthology comic book actually scaring its audience to death.

Much more successful however, is James Stokoe’s fish-filled, foul-smelling “Scrimshaw”, which atmospherically evokes all the suspense a bibliophile may well expect from an isolated island whose sole source of income lies in trawling its waters. Somewhat reminiscent of actor Christian Slater’s character talking one-on-one with Louis de Pointe du Lac at the start of the 1994 movie “Interview With A Vampire”, this ten-page plot does a great job of quickly building up an almost mesmeric ambiance, as well as swiftly misdirecting the attention away from the grizzled storyteller with an enthralling old fisherman’s myth so as to provide a genuinely nerve-shuddering shock at its end.

Alongside such intriguing penmanship, the author/illustrator also provides his yarn with some incredibly detailed panels, which really help paint a vividly vibrant picture of an isolated world where hand-carved human body parts occasionally wash up upon the coastline, and are treasured by an increasingly wide-eyed murderer who enthusiastically searches the shore for just such grisly treasure. Furthermore, the concept of a mysterious Scrimshander, shrouded in the ocean’s detritus, is particularly well-depicted, with the creature's disconcerting demeanour easily captivating the eye whenever it makes an appearance.

Writers: Chip Zdarsky and James Stokoe, and Artists: Kagan McLeod and James Stokoe

G.I. Joe: A Real American Hero #306 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 306, May 2024

There’s so many plot-threads, character development arcs and treacherous treble-dealing taking place inside Larry Hama’s storyline for Issue Three Hundred and Six of “G.I. Joe: A Real American Hero” that doubtless a fair few franchise fans’ heads were left spinning in May 2024. Indeed, considering the sheer scope of the numerous plot-threads on show within an ordinary twenty-page periodical, it’s incredibly impressive that the Inkpot Award-winner is able to pen so many utterly enthralling moments – not least of which is the incredibly gut-wrenching demise of poor Dawn Moreno’s well-meaning parents at the hands of some super-jumpy Cobra guards; “She’s going for a weapon!! BLAM! BLAM! BLAM!”

Perhaps foremost of these pulls is just how overconfident Serpentor Khan has become in his covert dealings with both Alpha-001 at Revanche and Destro. “The resurrected being of Genghis Khan and leader of Cobra” is shown to be so bombastic that he arguably verges on the comedic. But that shouldn’t arguably stop many a bibliophile from genuinely looking forward to seeing the physically-malformed monster get his just comeuppance in a future edition.

Quite possibly this book’s best action-orientated moment though comes with witnessing Snake Eyes absolutely annihilating his wooden opponents whilst acing the Urban Interior Combat Simulation range. This adrenalin-drenched sequence is wonderfully paced, and provides Scarlett an opportunity to (admittedly somewhat clunkily) list all the various state-of-the-art weaponry, as well as an “old Uzi”, which the faceless ninja currently carries with him into combat.

Impressively adding an extra layer of exhilaration to all of Hama’s sense-shattering shenanigans is penciler Paul Pelletier, whose ability to imbue all of this publication’s considerable cast with plenty of emotion is absolutely first-rate. In fact, one of the highlights of this comic is being able to actually see the nervous tension taking place within a panel by the uneasy, physical movements of the figures filling them. This element really helps convince the audience that the events they are are witnessing have an actual physical consequence for its participants - for example the terrified, haunted look in the somewhat elderly Mister Moreno’s eyes when he’s suddenly stopped in Springfield on a routine police check, or Zartan’s almost nonchalant, matter-of-fact reaction to being sicced by a cruise missile whilst speeding through the Bayou.

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #306 by Andy Kubert & Brad Anderson

G.I. Joe: A Real American Hero #305 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 305, March 2024

Focusing upon the various covert operations Serpentor Khan has put in place within his numerous enemies’ headquarters, Larry Hama’s narrative for Issue Three Hundred and Five of “G.I. Joe: A Real American Hero” arguably does a good job in showing just how many pies Doctor Mindbender’s mutated creation has his dirty fingers in. True, many of the murderous madman’s cybernetically-enhanced agents come to a truly sticky end within the twenty-pages of this publication. But the sheer scale of his fiendish infiltrations is still breath-taking, especially once it's revealed that the grotesque-looking villain has even managed to penetrate both the Revanche facility in Baton Rouge, as well as Castle Destro.

In addition though, the American author also pens a genuinely moving scene for Dawn Moreno involving the Joe’s parents, who despite living well inside Cobra Commander’s community, still refuse to betray their daughter to arrogant neighbour Fred 23. The pair’s willingness to batter the Crimson Guard unconscious so as to allow their offspring to escape Springfield is extremely well paced, and will doubtless have many a bibliophile a little concerned as to whether the duo will actually manage to successfully “slip out of town tomorrow” before their assault-rifle toting prisoner can raise the alarm.

Equally well worth a mention is the tense action depicted when Spirit attempts to thwart a trio of Khan’s operatives trying to find the trap door down to the Pit. This already dynamic sequence is made all the more readable by having one of his foes pull the pin from a deadly nerve gas grenade during their struggle. Due to his opponent’s sinews and tendons having “been replaced by steel cable”, it does not look too good for Charlie Iron-Knife’s chances of permanently preventing ‘the spoon from flying!’ And yet, that is precisely what Lady Jaye attempts by shockingly unloading her entire side-arm into their assailant’s head.

Providing all these marvellous moments with plenty of convincing vitality are the layouts of Chris Mooneyham, who does a terrific job in showing just how increasingly concerned the supreme leader of Cobra has become following the revelation that his recent rally was witnessed by Mindbender’s traitorous minions. The artist also is excellent at showing the feelings Moreno’s family have for Snake Eyes III, with the somewhat elderly couple touchingly cuddling her just moments after they’ve savagely brutalised Fred 23 with a seriously winding body blow and lamp-stand across the bonce; “You didn’t think we’d turn you in, did you.?”

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #305 by Andy Kubert & Brad Anderson

Destro #3 - Image Comics

DESTRO No. 3, August 2024

Containing an impressively-paced bout of pugilism between the titular character and marvellously mysterious Chameleon, as well as a truly fascinating flashback to the English Civil War when Laird Destro was cruelly first introduced to his family’s now famous metal mask, this comic’s terrific trip into the “Energon Universe” must surely have landed well with any fan of the “G.I. Joe” franchise. True, Dan Watters’ plot for this twenty-page periodical probably only adds to the mountain of questions surrounding the identity of James’ would-be murderer. But frankly such uncertainties only increase the sense of excitement generated by this comic’s conclusion as the advanced weapons manufacturer quite astonishingly turns to General Flagg for help.

Of course, the biggest draw is undoubtedly the aforementioned unsuccessful assassination attempt in the Scottish Highlands, and the way the British author beautifully pens the leader of the Iron Grenadiers constantly defying the odds against an opponent who seemingly holds all of cards. This scrap is tremendously well delivered, and quite wonderfully shows that despite wearing an incredible amount of sophisticated protection about his person, along with “a lot of Kevlar”, Destro is still willing to get ‘close and personal’ when the situation requires it.

Similarly as successful though, has to be the writer’s detour back into the villain’s past to a time when his ancestor was busy supplying weapons to every side involved in King Charles’ eventual removal from the throne. This scene is as impactful as the entrepreneur’s fate is deeply disturbing, and should leave a lasting impression upon the reader as to just where the current Laird gets his seemingly super-human sense of determination from; “They thought to shame a Destro through discomfort. As though discomfort is not a weaponeer’s stock in trade.”

Furthermore, a good deal of gratitude should be given to Andrea Milana, who breathes palpable life into all these sense-shattering shenanigans with her positive pencils. Chameleon’s frantic attempts to kill her quarry are so dynamically sketched that the cold-blooded killer’s frustration at repeatedly failing is clear for all to see. Whilst the heat emanating from the Medieval furnace slowly melting down enough lead shot for a mask can easily be felt by any bibliophile witnessing the diabolical deed unfolding.

The regular cover art of "DESTRO" #3 by Andrei Bressan and Adriano Lucas

G.I. Joe: A Real American Hero #304 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 304, February 2024

Spending a fair amount of time spotlighting Dawn Moreno covertly following a trio of deadly Blue Ninjas in Springfield , Larry Hama’s script for Issue Three Hundred and Four of “G.I. Joe: A Real American Hero” should easily have kept its audience thoroughly entertained. Indeed, the Inkpot Award-winner’s ability to imbue the long-running sequence with a palpable sense of rising tension may well have caused many a reader to exhale in relief when the former Snake-Eyes’ reconnaissance mission is finally brought to an abrupt end, and she can decisively engage her foes with her truly deadly blades; “Come on… Let’s see what else you’ve got!”

Impressively however, this isn’t the only action which the American author is able to squeeze into his twenty-page plot, as the Joes rather naively attempt to recover the remnants of the augmented Blue Ninjas which had previously ambushed Scarlett, only to discover their mechanical corpses were actually only in sleep mode as opposed to being dead. This sudden realisation comes completely out of the blue, and does a great job in giving any onlooker a surprising jolt of adrenaline when they were probably simply settling down to listening to Airtight and Black Hat wax lyrical about reverse engineering Serpentor Khan’s latest minions.

Furthermore, the narrative also contains some nicely penned moments of humour, such as Timber hungrily slurping down the meatballs in tomato sauce Snake-Eye’s used to fake his bloody wounds, and Wild Bill coming to Corporal Kurt Schnurr’s rescue during the Blue Ninjas aforementioned reactivation. Such moments should genuinely prompt a smile upon the lips of any perusing bibliophile, and provide a brief respite from all the sense-shattering secret shenanigans taking place as Cobra faces “an existential crisis.”

Clearly aiding Hama with all this engrossing storytelling is Chris Mooneyham and colorist Francesco Segala, who together provide the plot with some wonderfully convincing visuals. Of particular note has to be their artwork on the three Vipers who penetrate the Pit’s outer security cordon and make their way to Camp Greer’s perimeter. The villains’ desperate dash across open ground to the supposed safety of the complex’s shadows are so well delivered that even the most sceptical of bibliophiles should be able to imagine the stealth agents furtively peeking into the various buildings to establish whether they are occupied or not.

Writer: Larry Hama, Artist: Chris Mooneyham, and Colorist: Francesco Segala

G.I. Joe: A Real American Hero #303 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 303, March 2024

This particular twenty-page periodical probably landed rather well with any one already aboard “the G.I. Joe hype train”, or who simply enjoys the more covert aspects of military operations. For whilst a fair portion of the comic does focus upon the different competing forces consolidating what up-to-date intelligence they have upon one another, a considerable amount of sheet space is also dedicated to assassination runs and supposedly secret scouting missions; “So far, they don’t know the extent of the Pit defensive perimeter. Let’s keep it that way.” 

Of particular interest has to be Revanche and Serpentor Khan’s attempt to kill both Snake-Eyes and Scarlett in the doting couple's isolated forest retreat using the latest in heavily-augmented cyborg shadow warriors. This adrenalin-fuelled fight-fest is absolutely riveting, and despite Shana O'Hara’s assurances to young Timber, should genuinely have many a bibliophile worried that the pair might actually be about to meet their match. Indeed, the evident contrast between the protagonist’s ‘old-school’ weaponry and the laser-powered armaments of their attackers seemingly imbues the mechanical would-be murderers with a distinct, visual advantage.

Delightfully though, there’s actually plenty of enthralling fun to be found within this book’s more sedentary sections as well, courtesy of an extremely intriguing conversation between “the resurrected being of Genghis Khan” and Alpha-001. On the face of it a man dressed as a giant snake talking to a large robotic caterpillar could appear extremely farcical at best. However, the well-penned dialogue is so good that any reader should easily be able to suspend their sense of disbelief at its absurdities, and simply go along with one of Serpentor’s cannibal-zombie stooges volunteering to be genetically emboldened inside the cocoon of a surgical bot.

Somehow also adding an aura of authenticity to this publication’s proceedings is Chris Mooneyham. The Kubert School graduate does a superb job of making the hive entity Revanche appear both believable and sinisterly threatening simultaneously. Whilst his layouts for the aforementioned assault upon Snake-Eyes’ log cabin are tremendously well-sketched, and contain plenty of the pulse-pounding speed an audience would expect to see when witnessing “one of the most prominent characters in the G.I. Joe: A Real American Hero franchise” standing toe-to-toe against an “enhanced blue ninja dedicated kill squad.”

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #303 by Andy Kubert & Brad Anderson

G.I. Joe: A Real American Hero #302 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 302, January 2024

Considering the serious nature of one of this comic’s central plot threads – namely the burial of a fallen G.I. Joe, it’s incredible to see that Larry Hama also managed to imbue this twenty-page periodical with plenty of laugh-out-loud moments too. Indeed, the outbreak of cannibal zombies throughout Cobra Island is clearly penned by “one of the all-time greats” with some tongue-in-cheek interactions in mind, such as when Serpentor Khan nonchalantly guns down one of his more disgruntled minions and subsequently proposes that the rest of his heavily mutated forces mercilessly munch upon the still gurgling cadaver; “Lunch is served.”

In addition the Inkpot Award-winner also provides the audience with a rather romantic scene between Snake Eyes and Scarlett set in the Sierras, where the pair are about to enjoy some rabbit stew together. This scene is quite touchingly written and proves especially memorable as one of Timber’s progeny comes bearing the ninja a special gift in the guise of a young wolf cub.

Disappointingly though, all of this dialogue and character development does mean that Issue Three Hundred and Two of “G.I. Joe: A Real American Hero” frustratingly lacks much in the way of pulse-pounding action or even a simple gun-fight for that matter. This imbalance is potentially off-set by Khan’s aforementioned ‘mercy killing’ and Stalker’s recollection as to how former Cobra Crimson Guard Wade Collins was once captured by enemy forces “in a jungle half around the world.” But none of this extremely limited, sporadic violence is arguably what fans of a publication based upon a military-themed toy franchise would probably be hoping for.

Happily, artist Chris Mooneyham is on top form when it comes to pencilling the comic’s layouts. Easily moving from the cartoon-nature of Cobra Island’s meat-eating inhabitants over to the sobering solemnity of a rain-soaked funeral at Arlington National Cemetery, it’s crystal clear just why Editor Alex Antone would feel the illustrator is “doing some of his career-best work on this book”, and there’s even a palpable physical tenderness between Snake Eyes and Shana O'Hara which is ordinarily quite difficult to depict when drawing any sort of bedroom scene.

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #302 by Andy Kubert & Brad Anderson

G.I. Joe: A Real American Hero #301 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 301, March 2024

Described as the start of “a new era for G.I. Joe”, this twenty-two page periodical must surely have excited fans of the action figure media franchise – both new and old, with its incredibly tense insight into an unsuccessful assault upon Cobra Island by the “ultra hush-hush” task force. In fact, it will arguably be difficult for many a bibliophile to recollect a more furiously paced narrative than the one Larry Hama provides for this comic, as Wild Bill desperately wrestles at the controls of a partially burning four-engine turboprop plane, and the rest of the team’s “capable operatives” prepare to penetrate Doctor Mindbenders laboratory from the sea.

Foremost of these pulse-pounding predicaments is undoubtedly William Hardy’s dramatic attempt to stop the military transporter he’s flying from catastrophically crashing into the water at a terminal velocity. Every time the chief warrant officer appears to have got his vehicle’s hydraulic pressure back to some semblance of working order, the American author quite beautifully throws another spanner in the works – whether it be the weight of the plane’s passengers and cargo, or a Cobra Cruise Ship with a pair of missile firing androids on board; “Bzzt! Aircraft targeting suite activated. Beep. Target locked.”

Just as nail-biting though is also the Inkpot Award-winner’s depiction of the Killer W.H.A.L.E. and the hovercraft’s dangerous dash across the waves. Determined to put as much distance between his comrades-in-arms and Serpentor Khan’s imminently-exploding biological weapon, Cutter’s grim-faced character proves incredibly captivating; especially once Cobra Commander escape’s Laura’s custody and lowers the jet sled ramp, causing the ACV to start taking on copious amounts of water. 

Joining Hama for this “series premiere” is Chris Mooneyham, whose excitement “to be working on such an enduring property with [its] original writer” is clear to see from his astonishingly dynamic layouts. The idea of having a countdown timer continually ticking down to detonation is particularly impactful, and genuinely helps put the audience’s hearts in their mouths as it approaches zero hour. Whilst even the likes of Wild Bill, neatly nestled in his pilot’s seat, are still able to show an incredible amount of dynamism, courtesy of the Kubert School graduate’s ability to have his face reflect all the exhilarating emotions Hardy is currently experiencing.

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #301 by Andy Kubert & Brad Anderson 

Destro #2 - Image Comics

DESTRO No. 2, July 2024

Essentially comprising of a series of ‘tit-for-tat’ military operations against one another, Dan Watter’s narrative for Issue Two of “Destro” should certainly leave none within the mini-series’ audience in any doubt that the founder of M.A.R.S. Industries and the Corsican Crimson Twins really don’t get along. In fact, the two world-leading weapons manufacturers appear to go to some quite extraordinary lengths to ensure the total destruction of one another'' armament facilities; “Just look at how those beautiful, educated minds splatter on the ground.”

For those readers who enjoy such senseless slaughter, these high octane action sequences are certainly well-presented, most notably Xamot and Tomax Paoli’s attack upon Destro’s primary store of Energon in South Carolina – which results in the chrome-headed despot activating all of the merciless Battle Android Troopers (B.A.T.s) garrisoned there against the encroaching, scarlet-uniformed mercenaries. But after a while, some bibliophiles might find themselves needing to take something of a break from so much unrelenting, mutual death and destruction.

Impressively however, that is precisely what the British writer subsequently offers by suddenly spotlighting a very private meeting between the two warring factions’ leaders at an undisclosed location in the Pacific Ocean. The subsequent tense, somewhat haughty dialogue, threats and interactions on show are easily as captivating as all the mayhem depicted in this twenty-page periodical’s first half, and also establishes just how far Laird James McCullen Destro XXIV is willing to go with his secret stash of retrieved American nuclear warheads to win the day. Furthermore, the conversation definitely suggests that the ever-manipulative Cobra Commander may well have had a hand in causing the entire conflict in the first place.

Perhaps though it is this comic’s final scene showing “the Scottish leader of the Iron Grenadiers” single-handedly traipsing across the snow-covered Highlands to his family’s secret tomb, which is the highlight of this publication. Extremely well pencilled by Andrei Bressan and coloured by Adriano Lucas, any onlookers will feel the biting cold tearing through the titular character as he makes his arduous mountain trek, as well as gain a valuable insight into both the man’s strong superstitiousness and surprising hubris when it comes to outfoxing anyone thinking of following him.

The regular cover art of "DESTRO" #2 by Andrei Bressan and Adriano Lucas

Destro #1 - Image Comics

DESTRO No. 1, June 2024

Apparently presenting “the next chapter of the Cobra threat”, Dan Watters’ script for Issue One of “Destro” must surely have thoroughly entertained any fans of the “Real American Hero” media franchise with its incredibly engrossing opening featuring an insurgency in the Republic of Darklonia, and subsequent side-plots involving various shady armament dealers. Indeed, considering the sheer scope of some of this mini-series’ numerous storylines, such as the rising power struggle behind M.A.R.S. Industries’ owner and Cobra Commander, some readers will doubtless be disappointed that the title will be limited to just five instalments; “I hope I see you in Hell, Laird Destro.”

Leading this assault upon the audience’s senses is arguably the British author’s excellent handling of James McCullen Destro XXIV, who is initially depicted as the chilling saviour of a population already squeezed dry by the corruption of a greedy Prime Minister. This redemption genuinely appears to be little more than the ‘backwater nation’ exchanging one blood-thirsty ruler for another. But is soon revealed to have also been partly prompted by the weapons manufacturer’s infatuation with both “the emergence of Energon”, as well as the desire to field test his Battle Android Trooper project – something which ultimately fails when it becomes evident the robotic killing machines’ “volatile” programming means “they shoot anything with a face in that face, until they’re switched off.”

Equally as engrossing though are this comic’s action sequences, which hint at just how truly vicious a world the likes of a “blood-soaked” Artyom Darklon dwell in. It takes quite a bit of penmanship to make “the Scottish leader of the Iron Grenadiers” appear to be this book’s heroic saviour – at least to begin with. Yet that is precisely what the writer initially achieves when Destro is compared to a Prime Minister willing to have his soldiers gleefully “gut shot” a few protestors just to show the others how they ‘drowned in their own intestines.’

Likewise, artist Andrei Bressan and colorist Adriano Lucas provide the publication with some marvellously crafted visual pieces, most notably the emergence of a B.A.T. advanced prototype from amidst the insurrectionists, and the Crimson Twins’ massacre of a military infirmary in Sierra Gordo, South America. Packing a far portion of gratuitous violence and physical mutilation, the layouts make it very clear that even the tiniest mistake, whether on the battlefield or inside a politically-charged boardroom, will have atrocious consequences for those making them.

The regular cover art of "DESTRO" #1 by Andrei Bressan and Adriano Lucas

Terrorwar #9 - Image Comics

TERRORWAR No. 9, February 2024

Arguably ending well before its allotted twenty-one-page count, Saladin Ahmed’s narrative for Issue Nine of “Terrorwar” seemingly smacks of a storyteller who simply has nothing more to give despite desperately needing to pen something for his (suddenly relabelled) mini-series’ “jaw-dropping conclusion!” Admittedly, that still doesn’t stop the American author from depicting a rather satisfying smackdown of Blue City’s selfish military elite, courtesy of a colourfully-coordinated action sequence which is disconcertingly reminiscent of something from Saban Entertainment’s “Mighty Morphin Power Rangers” television show. But this pulse-pounding bout of pugilism is over before it's really started, and once obnoxious Representative Ronali is far too easily killed, any notion of the central protagonists losing is swiftly put to bed - leaving everything which follows debatably devoid of any real importance.

Indeed, even the subsequent death of Dmitry, who nobly sacrifices himself to prevent a pulse charge which would “blow everyone here to bits”, disappointingly lacks any lasting impact on account of how contrived his martyrdom appears. Just prior to this manufactured moment, the Terrorfighters have been shown to be absolutely imperious to even the most formidable of their opponent’s death-dealing weapons, such as when Muhammad Cho personally dispatches the monstrous mechanical Dissuader with just a punch. Yet suddenly, the Detroit-born writer would have his audience believe a single blast from a explosive device would terminally shatter one of their Terror-fuelled energy shields..?

To make matters worse though, even after this “brain-bending sci-fi horror saga” has come to a close, there doesn’t seem to be any real light at the end of the tunnel for this comic’s central cast. Despite quite literally saving the planet’s civilisation none of Cho’s team are better off. In fact, Muhammad himself is all the poorer for his heroic exploits, now being “a man with no prospects” in addition to being penniless, and can apparently only resort to expletive-laden soliloquies to help pad out Ahmed’s plot to its depressingly lack-lustre conclusion.

Equally as unconvincing, at least in places, are Dave Acosta’s layouts, which primarily appear to have designed to simply eke out enough sketches so as to finally finish the book. The artist does a good job of illustrating just how overpowered the ex-government contractors’ super-suits are when compared to their foes’ arsenal of man-made weapons. However, almost a quarter of the book is dedicated to splash pages, strongly suggesting there simply wasn’t enough script to keep his pencil all that busy.

Written by: Saladin Ahmed, Pencils by: Dave Acosta, Inks by: Jay Leisten, and Colors by: Walter Pereyra

Terrorwar #8 - Image Comics

TERRORWAR No. 8, December 2023

Just what Saladin Ahmed’s actual intention was for this particular comic’s narrative is arguably up for some debate, due to its storyline seemingly spiralling all over the place before it finally returns to show Muhammad Cho’s team once again facing down Safehaven’s security troopers. In fact, in many ways the “Eisner-winning writer” appears to frustratingly imbue as little strategy into this book’s puzzling plot as the Terrorfighter’s chief does for storming the Upper Levels of Blue City; “I suppose I’m not surprised that you apparently charged in here with no plan. But I do wonder what in the name of the all-merciful you hoped to achieve?”

Leading this bemusing assault upon the reader’s sense of logic is probably the bizarre realisation that having somehow managed to finally confront the “morally bankrupt” Ronali at the very top of the government official’s heavily-armed metropolis, the storyline’s battle-weary central protagonists simply try to scold her into submission. So naïve a scheme genuinely seems laughable with hindsight, but at the time is so unexpected that it probably fooled half the audience into believing the empty-handed contractors were planning some sort of table-turning deception which just never materialises.

What happens next though is debatably even worse, as all of Cho’s comrades-in-arms individually undergo some sort of cerebral attack from the Terrors they’re now trying to protect. This incredibly convoluted scene, which supposedly depicts the sentient creatures eventually merging with their would-be saviours like a certain "sentient alien symbiote" co-created by Todd McFarlane, takes up the vast majority of the twenty-four-page periodical, and probably to the more cynically-minded bibliophile was only penned/pencilled to pad the series out for just one more issue.

Slightly more convincing is Dave Acosta’s pencilling, at least until the battered crew undergo the aforementioned mind games by their eventual psychic partners-in-crime. The “superstar horror artist” does a grand job in imbuing Muhammad’s attempt to out-fly some attack drones in a conveniently stolen jet-car, with all the pomp and pace a person might expect from an adrenalin-packed action sequence. Yet once the likes of Rosie start being assailed by imaginary giant numbers, the sketches disappointingly seem a little lack-lustre – almost as if the illustrator (or perhaps Inker Jay Leisten) needed to get the panels finished within a certain time limit.

Written by: Saladin Ahmed, Pencils by: Dave Acosta, Inks by: Jay Leisten, and Colors by: Walter Pereyra

Creepshow: Joe Hill's Wolverton Station #1 - Image Comics

CREEPSHOW: JOE HILL'S WOLVERTON STATION No. 1, February 2024

For those “kiddies” somehow able to navigate their way through twenty-four pages of abhorrent, expletive-laden dialogue, this comic book adaption/expansion of Joe Hill’s 2014 E-book set “in a dog-eat-dog world” probably never lived up to its pre-publication hype. True, the New York Times bestselling author’s narrative most definitely contains plenty of gratuitous violence and body horror thanks to a pack of hungry werewolves chomping their way through a number of hapless commuters and leaving their dinner scraps all over the place. But besides these momentary gore-fests, this “special presentation” overall is arguably far from convincing; “Americans don’t smell like cheeseburgers. We smell like winners.”

To begin with the sole reason for crooked businessman Saunders to even climb aboard a terrifying train to Wolverton Station is because there’s apparently no limousine drivers available in England to drive him to Buckinghamshire. This rather implausible national strike will surely test the audience’s willing suspension of disbelief straight from the start, and seems to have been crowbarred into the plot solely to ensure that the rich entrepreneur “obsessed with classic Horror memorabilia” uses a particular form of public transport.

Furthermore, the lead character appears unaware that the majority of passengers around him are actually hulking great werewolves, even when they’re ferociously feasting upon the innards of their partially disembowelled victims, or noisily chasing him through the carriages towards First Class. Such a lack of recognition really is quite bemusing, and appears especially strange once the fellow becomes both noticeably sickened and petrified by the numerous mass-murders occurring throughout his train ride. In fact, even after a close call with three ravenous lycanthropes near the toilet, the American still just returns to his seat beside a well-dressed man-wolf and continues with their earlier conversation.

Much more impressive is arguably Michael Walsh’s artwork, with the illustrator’s somewhat roughly-hewn sketches adding plenty of raw energy to the skin-shredding shenanigans occurring aboard the blood-soaked InterCity. Of particular note is how the penciller depicts Saunders becoming increasingly dishevelled physically as his nerve-jangling trip plays out, and he resultantly transforms from the arrogant, all-powerful tycoon into nothing more than a truly desperate taxi-fare who has unwittingly fallen into Sol’s grisly plan for revenge…

The regular cover art of "CREEPSHOW: JOE HILL'S WOLVERTON STATION" #1 by Michael Walsh

Creepshow: Holiday Special 2023 #1 - Image Comics

CREEPSHOW: HOLIDAY SPECIAL 2023 No. 1, December 2023

Most definitely succeeding in its mission “to put the fear in your cheer”, Daniel Kraus’ storyline for “Christmas Man” easily establishes a truly disconcerting foe to murderously stalk Santa Claus during the snow-laden season of giving. Indeed, considering the perfectly plausible background this terrifying tale’s supporting cast make up as to the motivation behind “the Abominable Snowman of the North Pole”, the toe-hungry monster genuinely sounds like something the American author has simply plucked from the mythical stories surrounding Saint Nicholas himself, rather than a foul fiend created specifically for this comic’s ten-page long plot.

In addition, artist Jonathan Wayshak needs a massive pat on the back for his engrossing pencils, which entertainingly incorporate the heavily-stylised sketches of little Esme to help illustrate the child’s traumatised thoughts as to what the fur-covered creature probably looks like in life as it remorselessly follows Father Christmas on foot. These scribblings genuinely help sell the increasing dread flowing through this fairy-tale's impressionable protagonist, and will also doubtless imbue the reader with all the confirmation they need that the child’s mean-spirited siblings have gotten their ‘just rewards’ once the heavily-fanged Yeti has mercilessly devoured all their feet before her very eyes.

Slightly less graphic in its telling, though still containing plenty of removed human body parts, is “Package Thieves” by James Asmus. This “cautionary tale about stealing the wrong parcel” is arguably a little slow in places as Holly becomes increasingly paranoid during her day-to-day thievery, and starts to strongly doubt her life of crime is as victimless as her overbearing partner, Joy, repeatedly claims. But once it becomes clear the pair are specifically being targeted by a homicidal Spirit of Christmas, the pace quite noticeably 'hots up' into a stomach-churning conclusion.

Disappointingly however, “lively” Letizia Cadonici’s layouts probably don’t help with the speed of this predominantly sedentary yarn either, courtesy of the Italian’s somewhat minimalist style (along with Francesco Segala’s colours) making all the figures rather flat-looking and lifeless. Indeed, even the touching despair in the face of a poor father desperate to buy a robot dog back from the woman who stole it from his front-porch, disappointingly lacks a lot of its emotional impact – something which just such a scene should definitely evoke considering its made crystal clear he only wants the toy for his hapless, hospital-bound daughter.

The regular cover art of "CREEPSHOW: HOLIDAY SPECIAL 2023" #1 by Guillem March

Creepshow [2023] #5 - Image Comics

CREEPSHOW No. 5, January 2024

Described by its Portland-based publisher as “the freaky finale of Creepshow, Volume Two”, this terrifying tome certainly seems to get off to a strong start, courtesy of Saladin Ahmed tapping into the increasing public concern of America during the early Fifties, over the gratuitous violence and artwork depicted in comics. Of course, in “Burning Ambition”, the Hugo Award-nominee brings the wave of political hysteria bang up-to-date in the guise of modern-day Governor Hurley. But essentially the hard-nosed statesman is a caricature of infamous Los Angeles councilman Ernest Debs, whose no-nonsense criticisms and concerns swiftly lead to the creation of the Comics Code Authority in 1954. 

Cleverly however, this ten-page tale soon steers away from grand speeches in front of the cheering masses, and uses Artyom Topilin’s layouts to quite chillingly show the obsessive elected official just how deadly a gutter or three can be, when an upset librarian transports him inside an actual book. Indeed, the lion’s share of this “hair-raising” yarn’s success rests upon the illustrator’s shoulders as he mercilessly pencils the poor politician being physically dissected panel by panel via various breaks in his artwork and numerous onomatopoeia; “Those White lines! They’re razor sharp!”

Sticking with the theme of comics is the equally enjoyable “Keep It Fed!” by DB Andry and Tim Daniel. Essentially a reworking of every eight-year-old’s belief that there’s an ever-hungry monster living under their bed who will mercilessly eat them alive as soon as their parents turn off the light, this reasonably straightforward story quite heavily leans into the trope of the boy’s overbearing father being the true antagonist, rather than the ferociously fanged creature stalking poor Ernest and gobbling up the kid's favourite titles.

Phenomenally pencilled by “murderous Matthew Roberts”, the child’s initial sadness at giving up his beloved best issues to the always-hungry fiend in his bedroom is genuinely touching, and later only overshadowed by the fast-growing teenager’s evident distress at his dad totally destroying his remaining collection by burning them all in a large garden fire. Like all successful conclusions though, this tale has a good twist at the end, which sees the adolescent intriguingly following in the actual footsteps of his grotesque “friend” rather than being consumed himself.

Writers: Saladin Ahmed, and David Andry & Tim Daniel, and Artists: Artyom Topilin and Matthew Roberts

Creepshow [2023] #4 - Image Comics

CREEPSHOW No. 4, December 2023

Arguably capturing both some of the wicked wit and grotesque gruesomeness of the original 1982 horror anthology film “Creepshow”, Nick Dragotta’s opening narrative for Issue Four of this comic book mini-series should certainly catch many a reader off-guard with its rapid decline into savage, physical mutilation. In fact, the “naughty” creator’s “Killer Cart Corral” may well completely wrong-foot the majority of this publication’s audience, courtesy of a storyline which initially suggests that a haunted shopping trolley will be its central antagonist, and then shockingly revealing a far grisly monster to break Billy’s heavily traumatised mother into several pieces.

Sure, some bibliophiles might believe that the thieving, drug-dealing brat’s parent may well have deserved a truly dreadful death at the bottom of her deceased son’s blood-splattered buggy. But this ten-page plot’s writer/artist does such a cracking job in revealing the adolescent’s deceit and his guardian’s unwillingness to accept his fatal flaws, despite closed circuit television footage to the contrary, that when she is still disconcertingly gurgling for mercy, few “Creepsters” will believe she genuinely deserves it; “As for you and your Billy. We simply cannot tolerate such carelessness. Good boy, Dougans.”

Just as intriguing, though not anywhere near as gory, is “The Amulet” by the “abominable Alisa Kwitney”, which explores all the concerns a wheelchair-bound septuagenarian may well experience when she is unlovingly expelled from her home straight into a cruelly-run nursing centre for the elderly. Quick to realise her perilous predicament, “Professor Emeritus of Archaeology and Anthropology at Ogelthorpe College” makes for a remarkably sympathetic heroine, who sadly appears well out of her depth against the Rainbow Rest’s utterly merciless and homicidally murderous manageress.

Proficiently pencilled by Belgian illustrator Mauricet, it’s debatably difficult to see just how the new resident is ever going to survive even a week inside the care home, especially when it’s spelled out to her just how quick a death a tenant can experience should they cross the malignant Miss Amy. But rather cleverly, the New York City-born writer manages to throw a few surprises into the mix at the end, including a truly disturbing scene of the facility’s outfoxed female felon being forced to eat the body parts of one of her previous victims as a staff member unwittingly watches on.

Writers: Nick Dragotta and Alisa Kwitney, and Artists: Nick Dragotta and Mauricet