Uncanny X-Men #16 - Marvel Comics

UNCANNY X-MEN No. 16, August 2025

It’s probably a safe bet that a fair number of this twenty-page periodical’s readers probably felt its series of almost sickly sweet conclusions were rather anti-climactic at best. In fact, apart from one magical moment where Doctor Theodore Sallis’ slime-covered alter-ego is sensationally launched against the death-like deity Shuvahrak, almost the entirety of “The Voice Of Darkness” is frustratingly filled with missed opportunities; “All I know for certain is whoever knows fear burns at the touch of the Man-Thing.”

For starters, the notion that perhaps having a farm load of super-powered refugees living nearby is not sitting all that well with the inhabitants of New Orleans, is finally revealed to be quite the reverse – with the metropolis’ mayor actually announcing that the "Big Easy” will from now on be “the country’s first mutant friendship city” due to all the ‘normal’ lives they’ve apparently saved. This concept is definitely a bit bemusing, considering that “the shoppers at a popular waterfront mall” wouldn’t have been in danger in the first place if it wasn’t for the Outliers visiting the plaza, and resultantly just smacks of Gail Simone creating an all-too convenient alternative to the safe haven of Krakoa.

In addition, the potential of a deranged robotic Bloodhound murderously bounding into Haven House and massacring its inhabitants is infuriatingly nipped in the bud within the space of three panels. Alongside disagreeable secret agent Miller simply being disbelieved by his fellow operatives that a mutant sanctuary exists in the Mississippi swamplands and resultantly getting sacked, these highly disappointing outcomes suggest that the American author suddenly just got tired of the sub-plots, and decided to wrap them up as soon as the comic's script allowed.

Lastly, but by no means least though, has to be the actual ending of the author’s long-running “Dark Artery” narrative, which sees the mysterious entity behind Deathdream’s journey into the accursed underground hell-town known as Penumbra, implausibly decide to give up her desire for a replacement on some emotional whim. This unconvincing call comes completely out of the blue, and is supposedly due to Jubilee – who up until this moment has had no interaction with the sinister spirit whatsoever – convincing Shuvahrak that she is sympathetic to the grieving goddess’ loss of a daughter..!?!

The regular cover art to "UNCANNY X-MEN" #16 by David Marquez & Matthew Wilson

Uncanny X-Men #15 - Marvel Comics

UNCANNY X-MEN No. 15, July 2025

Captivatingly claustrophobic due to so many of its sense-shattering shenanigans occurring deep down inside a long-buried crypt, there isn’t much wrong with Gail Simone’s narrative for Issue Fifteen of “Uncanny X-Men”. Indeed, the twenty-page periodical’s well-paced ‘potash’ of past, present and potential future sub-plots should see many a bibliophile utterly beguiled; “Oh, my dear, dear fellow. What makes you think you are free to leave.?”

Admittedly, this third instalment to the American author’s “The Dark Artery” storyline doesn’t really contain all that much adrenalin-fuelled action – at least not until this comic book’s end when Deathdream, Jitter, Calico and Ransom take-on the furious pitchfork-carrying residents of the realm of the dead. But the sheer sinister undertones of the dialogue-driven set-pieces beforehand, quite easily still carry this adventure ever onwards at an enjoyably brisk pace; especially during Miss Benjamin’s potentially deadly confrontation with the truly despicable secret service agent Mister Miller “nearly a century past.”

In fact, one of the dilemmas doubtless faced by this book’s Oregon-born writer was how she was ever going to cover as much of Lady Henrietta’s intriguing role as Penumbra’s current custodian as she does, whilst competing with the limited sheet-space required to also tell the mutant teacher-turned-caretaker’s brilliantly penned and emotionally-charged backstory.

Furthermore, Simone is also busy sowing the seeds of a potential massacre about to occur within the seemingly safe Haven House. This upcoming Sentinal attack might not have struck the audience as being particularly terrifying when the titular characters were residing there. However, rather cleverly, Gail has the X-Men depart to spectacularly save the Outliers’ day, and in doing so exposes the highly likeable little Chelsea and her mother to the flesh-tearing danger of a deranged mechanical Bloodhound back home.

Marvellously managing all of this comic’s visuals is David Marquez, who impressively imbues all the various sequences with just the right amount of atmosphere and apprehension. Of particular note has to be the Illustrator’s prodigious pencilling of Mister Miller, whose arrogant superiority is brought down to Earth with a heart-stopping bump when the Mutie-hater shockingly realises that the people he was planning to cold-bloodedly gun down, might not actually let him leave the swamp in one piece.

The regular cover art to "UNCANNY X-MEN" #15 by David Marquez & Matthew Wilson

Crypt Of Shadows #1 [2023] [Part Two] - Marvel Comics

CRYPT OF SHADOWS No. 1, December 2023

Penned by Declan Shalvey to “haunt new fans and long-time readers alike this Halloween season”, the second half of “Crypt Of Shadows” opens with a pulse-pounding piece depicting a heavily-fatigued Daredevil fending off a literal army of deadly ninjas in a long-abandoned subway system. Aptly entitled “…Without Fear”, the six-pager quite succinctly showcases both that there is much more to the blind crime-fighter than simply being a phenomenal acrobat, as well as taps into the horror of poor Doctor Ted Sallis’ never-ending existence as the lonely Man-Thing, after the desperate scientist injected himself with an experimental serum in order to save his life.

Also adding an incredible amount of bang for your buck to this tale is Alex Lins, who does a first-rate job in illustrating Matt Murdock’s ‘wear and tear’, along with the adrenalin-fuelled fighting’s frantic speed. Furthermore, the Eisner Award-nominee quite wonderfully captures the formidable, hulking presence of Horn-head’s plant-based fellow protagonist, imbuing the giant “marshy mass” with a sad, quiet presence which starkly contrasts with all the flames, death and destruction occurring around him; “Where some see devils, other see angels. And they should be guided toward heaven.”

Arguably swapping out a sizeable portion of petrifying plot for some good old-fashioned Marvel Team-up shenanigans is “A Soul Worth Hunting” by Sarah Gailey, which quickly pits Jack Russell and Bruce Banner’s unholy alter-egos up against the overconfident arrogance of (Last Son of) Kraven the Hunter. Played with all the hubris this anthology’s audience might expect of a Sergei Kravinoff clone, this yarn does a solid job in exploring another of the super-villains ostentatious hunts, only for it to ultimately fail because he’s underestimated the anger-fuelled rage of his opponent.

Extremely engaging to the eyes, courtesy of Eder Messias’ lavishly-pencilled layouts, the story never misses a beat, and is only debatably disappointing due to the ex-Sinister Six member being so quickly dispatched miles into the air by the incredible Hulk. Indeed, the adrenalin-fuelled action abruptly ends just as Werewolf By Night appears to be squaring up to Kraven for a memorable close combat clash in the woodland, and many a bibliophile was probably therefore drooling at the imminent scrap ahead – especially as the Wundagore Mountain-born warrior is armed with the seemingly deadly Empyrion blade!

Writers: Declan Shalvey & Sarah Gailey, and Artists: Alex Lins & Eder Messias

The Incredible Hulk [2023] #5 - Marvel Comics

THE INCREDIBLE HULK No. 5, December 2023

Considering the sheer size of the malevolent swamp siren confronted by this comic’s titular anti-hero, some Hulk-heads may well have been anticipating “an epic brawl” between the Jade Giant, Man-Thing and the formidably-strong, multi-limbed, Floridan monstrosity. But whilst that may well arguably be the case, much of the battle’s impact is disappointingly lost as a result of Travel Foreman’s crude drawing style. In fact, many of this twenty-page-periodical’s harsher critics might even go so far as to suggest that the Honolulu-born artist’s inexpert illustrations wouldn’t look out of place inside an adolescent’s homemade fanzine rather than within the cover of a magazine produced by the current “comic book specialty market's top publisher.”

This disconcerting visualisation of Phillip Kennedy Johnson’s script also debatably distracts the reader from emotionally connecting with poor Charlie Tidwell, when the young girl relives the trauma of her ‘baby’ brother Earl dying at the hands of their abusive father. Charny’s despair is so tragically deep that it actually forces the onlooking Defender to painfully revert back to Bruce Banner. Yet due to the quality of the layouts any perusing bibliophile may well struggle to find even the smallest amount of sympathy for the unsatisfactorily sketched schoolboy's second demise; “If I wasn’t so… so clumsy, maybe he wouldn’t’ve… sniff. You didn’t even do anything…”

Perhaps this book’s biggest mystery though lies in precisely what threat the siren poses to the Nexus of Realities. Ted Sallis is very clear that the “mindless avatar of hatred and grief” is both “old and angry”. However, Man-Thing never explains how the wretched creature is physically threatening the cross-dimensional gateway, and eventually just resorts to informing an unconvinced Hulk that if the founding Avenger doesn’t help him, it’ll eat the Green Goliath’s unlikely companion. 

Somewhat more successfully delivered is this comic’s “backup story featuring a surprise guest character to honour Latin and Latinx characters and creators!” Penned by Vita Ayala, this unlikely fist-fight between the “World-Breaker” and Victor Alvarez initially appears to be little more than a staged set-piece to show-off Power Man’s impressive Chi-manipulating super-powers. However, once the Hero-For-Hire passes out and is temporarily cared for by the Hulk’s somewhat emaciated alter-ego, the storyline quickly transforms into a tolerable tale which focuses upon “Goggles” insecurities about being “nothing but a bootleg copy of a C-lister…”

The regular cover art of "THE INCREDIBLE HULK" #5 by Nic Klein

The Incredible Hulk [2023] #4 - Marvel Comics

THE INCREDIBLE HULK No. 4, November 2023

If the excitement surrounding this comic’s regular artist in its “Gamma Readings” letters page is anything to go, then many a patron of “Riddle Of The Man-Thing” won’t have been terribly pleased with editor Wil Moss’ decision to use a guest artist for its entire publication. Indeed, a good deal of the dark atmosphere generated for this story by Phillip Kennedy Johnson’s narrative is arguably lost in Issue Four of “Incredible Hulk”, courtesy of Travel Foreman’s scratchy-looking scribblings; “First an admission – the Nic Klein art drew me in. His previous run on Thor made me a fan, so I followed him…”

Foremost of these disappointments has to be the unimpressive looking monstrosity which spends much of the book luring unsuspecting victims into the “foggy bog” of Florida’s everglades and devouring them alive. The horrifically painful death of a “blackout drunk” at the publication's start is admittedly more than impactive, with the Hawaiian illustrator doing a proficient job pencilling the middle-aged man’s alluring young love beckoning him into her deadly embrace. But once the supposed “sultry seductress of the swamp” reveals her true form during the conclusion’s cliff-hanger the abrasive drawing style debatably makes the six-legged behemoth appear inauspiciously amateurish at best.  

Likewise, there’s an almost palpable lack of atmosphere in the scenes depicting Bruce Banner’s rather strained discussion with Charlie as to why the young runaway wants to stay with his green-hued alter-ego. This tense relationship between the title’s two leading characters is at the heart of the ongoing series, and reasonably well written by it’s Eisner-nominated author. However, the lack of any backgrounds to many of the layouts, coupled with some disconcertingly flat colours by Matthew Wilson, regrettably seem to strip many of the panels of any dynamism or life – even when the girl is potentially recognised by a diner as a suspect in her father’s murder.

Perhaps therefore this “twisted, two-part” tale’s sole strength lies with the Hulk’s brutal battle against the Man-Thing, and the gamma-irradiated brute’s temporary defeat in Ted Sallis’ fiery embrace. Gripping as it is physically grisly, this pulse-pounding bout of pugilism genuinely captures all the attention, especially once the furious founding Avenger begins literally tearing his way out through from the empathic, swamp walker’s back.

The regular cover art of "THE INCREDIBLE HULK" #4 by Nic Klein

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

Doctor Strange [2015] #17 - Marvel Comics

DOCTOR STRANGE No. 17, April 2017

Focusing upon the titular character’s desperate search for his long-time friend and manservant, Wong, “State Of Misery” arguably provided its 37,686-strong audience with far more entertainment courtesy of its carousel of super-hero cameos, rather than Jason Aaron’s main storyline concerning Mister Misery’s horribly unsettling plan to implant the “preeminent” surgeon’s former patients with aggressive brain tumours. Indeed, there’s a genuine ickiness to the Alabama-born writer’s suggestion that “the magical being” can cause massive cancerous growths within people’s heads, that can only be off-set by the somewhat humorous appearance of Man-Thing and a pack of ferociously thirsty blood-drinking Nazi Ninja Vampires; “I’ll give you credit for originality in your rogues there, Manny. I guess this is what you get when you’re guardian of the Nexus of all Realities.”

Admittedly, the Inkpot Award recipient’s disagreeable plot twist, which sees the “significant cranial” malformations savagely mutilate any physician foolish enough to make an “initial incision” upon a patient, undoubtedly brings an immense amount of emotional gravitas to this twenty-page periodical’s previously pedestrian pace. But such is the sheer callous ruthlessness with which “The Thing in the Cellar” inflicts the horrendously terminal condition upon its prey, that the entire nauseating sequence debatably must have left a lingering aura of unpleasantness within the minds of this publication’s readers, until the baseball-wielding Sorcerer Supreme is subsequently depicted battering the rather comically-costumed “Undead Reich” to bits after the fanged villains foolishly underestimate “the power of my Man-Thing.”

Equally as enjoyable as Ted Sallis’ alter-ego however, is the inclusion of the Scarlet Witch, Doctor Voodoo, Medico Mistico, and Alpha Flight’s Shaman within Aaron’s script. Understandably, these formidably-powerful magic users are sadly relegated to simply making a fleeting appearance inside The Bar With No Doors, yet their involvement in Stephen’s fruitless search for “the first-born son of Harmir the Hermit” provides a welcome reminder that this particular incarnation of the Master of the Mystic Arts does not defend the Earth from supernatural threats alone.

Whether hired by editor Nick Lowe because his “style owes something to the art of Bernie Wrightson, but with a computer-driven edge” or not, Frazer Irving’s unique-looking illustration work for Issue Seventeen of “Doctor Strange” certainly appears entirely appropriate for such sense-shattering horror-based shenanigans. In fact, the “2000 A.D.” artist’s drawings of Mister Misery warping Samuel Wintergreen’s “pretty brain” with his all-penetrating tendrils is utterly soul-shuddering, and alongside the Englishman’s grotesquely disfigured patients, is undoubtedly the stuff nightmares are made off…

Writer: Jason Aaron, Artist: Frazer Irving, and Letters: VC's Cory Petit

Man-Thing [2017] #1 - Marvel Comics

MAN-THING No. 1, May 2017

Whilst it arguably makes plenty of sense on paper for “a Marvel Comics editor” to approach an author whose “books have sold over 400 million copies” and ask him “would he like to” pen a comic title, Issue One of “Man-Thing” is probably a good example as to just how wrong such an ‘innovative’ approach can prove. For whilst this sixteen-page publication does contain a rather enjoyable ‘flashback’ to the abomination’s origin when scientist Ted Sallis self-injected his “deadly serum” into his arm whilst fleeing some armed thugs through the Florida Everglades, the rest of R.L. Stine’s narrative is a far cry from the “playful… self-referential Steve Gerber mode” he was apparently trying to emulate.

Indeed, in many ways it’s hard to imagine this book’s plot proving massively “influential on such writers as Neil Gaiman” when it so badly mistreats the “cult classic” titular character. It’s certainly difficult to take anyone’s script even semi-seriously when it starts by having the “large, slow-moving, empathic, humanoid swamp monster” fighting the giant Silver Centipede and its “poisonous mandibles”, before going on to portray a vicious, cold-blooded criminal spouting such nonsense as “Hey! Can we talk about this? I didn’t bring my swimsuit!” when Stan Lee’s co-creation is about to brutally kill him by hurling his pick-up truck into the marshland…

Just as disconcerting is the Ohio-born novelist’s apparent irreverence to his source material's lengthy heritage. Admittedly, the idea of developing a storyline within which “the typically silent Man-Thing” never utters a word is probably something of a challenge. But that shouldn’t mean that the beast’s normally lacking human intellect and desire “not to communicate with human society” anymore should simply be reversed in order to portray the superhumanly strong monster as a recently fired ‘jobbing’ actor who “spent everything I had to come to Burbank from the swamp” and subsequently “can’t even get a drink” in a bar because they “have a dress code.”

Fortunately, besides German Peralta’s excellent-looking renderings of Ted Sallis’ alter-ego, this comic has one saving grace in the shape of its secondary story “Put A Ring On It”. Somewhat ‘roughly hewn’ by artist Daniel Johnson, this ‘terror tale’ contains precisely the sinister suspense Stine’s earlier adventure “A Different Direction” sorely lacks, and ends on a particularly chilling vibe as a murderous pianist encounters the Enchanter Ruby.

Writer: R.L. Stine, Artist: German Peralta, and Color Artist: Rachelle Rosenberg

Howling Commandos Of S.H.I.E.L.D. #6 - Marvel Comics

HOWLING COMMANDOS OF S.H.I.E.L.D. No. 6, May 2016

As swansong editions go, especially those based upon the exploits of a (field) team of super-heroes, Frank J. Barbiere’s narrative for Issue Six of “Howling Commandos Of S.H.I.E.L.D.” is frustratingly far more focussed upon the exploits of missing member Orrgo than the other nine “ragtag group of monsters”. Indeed, the script for the twenty-page action-packed periodical is so obsessed with the thirty foot tall extra-terrestrial “space god” that its terribly abrupt finish unexpectedly arrives just as team leader Dum Dum Duggan is contemplating his squad ‘mouth-wateringly’ having to confront both the entirety of Pleasant Hill’s villainous escapees, as well all “the prisoners of S.T.A.K.E.” Doctor Kraye has recently released…

So infuriating a conclusion doubtless vexed many of this title’s 12,700 readers, particularly when its publishers had ‘forewarned’ both the public and presumably the book’s creative team of the series’ (stealth) cancellation as early as January 2016, by failing to include “the lowest selling Marvel All-New All-Different book of December” in its solicitation listings, and thus given its American author plenty of time to reconcile his story-arc’s numerous plot threads. Sadly however, such prudence simply isn’t evident in the former English teacher’s writing, with the choppy script sporadically leaping between Orrogo’s innermost desire to be accepted, and his team-mates’ impotent attack upon the young sentient Cosmic Cube, Kubik; “Orrgo has been many things… Been to many places… But what you did, it was not real. My real family… The Howling Commandos… Has come to me.”

Admittedly the contents of “Standoff” form an integral part of the “Marvel Comics” multi-title comic book event “Avenger: Standoff!”, and therefore by its very nature needs to leave plenty of sequences open to exploitation by other series, such as “Captain America: Sam Wilson”. But even so, one would have thought that Barbiere could have created a more satisfying conclusion to his magazine than a patronizing pretence in the letters page, “Going Commando”, thanking his “humble readers, for joining us on this adventure.”

Perhaps equally as disillusioned with the abolition of this “four-coloured battlefield”, Brent Schoonover’s inconsistent pencilling is arguably a far cry from the “talented” artwork his co-collaborator intimates he submits before each deadline. In fact, apart from a seemingly Jack Kirby-inspired double-splash depicting Orrogo first coming to Earth and being beaten up by a gigantic circus gorilla, as well as the Grey Gargoyle being bested by Teen Abomination, the Freelancer’s disappointing breakdowns appear lifelessly static and inanimately wooden at best…

Writer: Frank J. Barbiere, Art: Brent Schoonover, and Color Art: Nick Filardi

Howling Commandos Of S.H.I.E.L.D. #5 - Marvel Comics

HOWLING COMMANDOS OF S.H.I.E.L.D. No. 5, April 2016

There can be little doubt that Frank J. Barbiere tried to bundle Issue Five of “Howling Commandos Of S.H.I.E.L.D.” with as much action-packed gunplay, fist-fights and magical mumbo jumbo as this twenty-page periodical could take. For whilst the Rutgers University graduate’s narrative still provides plenty of exposition regarding just who The Adversary is that has been causing the “elite black ops unit of monstrous agents” so many recent problems, as well as moments of character development such as Nadeen self-doubting her own suitability to become part of “Dum Dum” Duggan’s strike force. It does so against the dynamic backdrop of S.T.A.K.E.’s covert team defending the world against one of its “weird[est] and bizarre threats” as Anath-Na Mut storms New York City’s Grandview Museum with an assault-rifle carrying zombie army desperately searching for the Mask of Amenhotep.

Such a weird storyline must surely have bewildered this comic’s 12,281 regulars, let alone any curiously perusing bibliophiles, especially when the book begins with an overcoat-wearing Hit-Monkey nonchalantly approaching some of the Sphinx’s undead minions before blowing them away with its twin submachine guns. But so incredulous an ambush is actually just the start of an extraordinarily entertaining publication-long pitched battle. Which, whilst undoubtedly taking a “fun approach” to depicting Vampire by Night head-staking heavily-armed cadavers, Warwolf tearing away at glowing Egyptian spectral warriors, and Man-Thing tangling with a multi-tentacled Hellspawn, still manages to create an increasingly tense atmosphere as both Navid and his cosmic-powered master are revealed to be little more than pawns in a greater being’s powerplay.

Barbiere’s penmanship also manages to create some genuinely engaging moments amongst all the ‘lively’ chaos of the combat, and in doing so clearly highlights how far removed he wanted this “military book” to be from a “very cold and tactical” read. Indeed, few of this magazine’s audience could have stifled a belly laugh when the ‘high and mighty’ Sphinx is brought low by the Commando’s resident Japanese Macacque, or later not felt Duggan’s validation as Jasper Sitwell finally groans “I…mmm…Commanndoooo!” when the S.H.IE.L.D.-suited zombie starts blazing away at The Adversary’s non-corporeal form.

Disappointingly however, the energetic script does seemingly take its toll upon the breakdowns of Bren Schoonover. The Midwestern-based freelancer does an incredible job of bringing dynamic life to the majority of his panels. Yet somewhat mystifyingly seems to struggle quite abysmally when pencilling either of the Hassan twins, as well as Nina Price in her occasional humanoid form.

Writer: Frank J. Barbiere, Art: Brent Schoonover, and Color Art: Nick Filardi

Howling Commandos Of S.H.I.E.L.D. #4 - Marvel Comics

HOWLING COMMANDOS OF S.H.I.E.L.D. No. 4, March 2016

As “the lowest selling Marvel All-New All-Different book of December [2015]” it’s hard not to let hindsight read too much into the somewhat choppy script for Issue Four of “Howling Commandos of S.H.I.E.L.D.”, as Frank J. Barbiere’s narrative rather abruptly not only brings ‘sparring partners’ “Dum Dum” Duggan and Warwolf together as friends. But also has Director Maria Hill supplant Paul Kraye as leader of her agency’s Threat Analysis for Known Extranormalities after the doctor “went crazy” and started “torturing our new recruit” Nadeen Hassan.; “Dammit, I knew I should’ve fired that weasel!”

Such an incredible turnaround of events, especially ones which up until this edition the American author appeared to be very slowly building up to, invariably leads to the supposition that the former English teacher both knew that “Marvel Worldwide” was already going to cancel the short-lived series before he finished writing this comic’s storyline and realised he was going to have to resolve all of his subplots concerning S.T.A.K.E.’s secret projects within the space of just a couple of twenty-page periodicals.

If this was the case then such a convoluted combination of ideas genuinely appears to have taken its toll upon the quality of Barbiere’s penmanship and his contrived handling of characters such as Orrgo, who has apparently been surreptitiously “transferred out of base” and Captain Martin Reyna; whose willingness to readily side with “Dum Dum” against his tech division superior occurs far too quickly considering his previous hostility towards the Life-Model Decoy, and the additional fact that in doing so the mechanically-armed agent declines a promotion to team “commander”. Certainly Nadeen’s inexplicably abrupt transformation into a fully-fledged bandage-wearing ghost-manipulator, complete with mummified face, seems terrifically artificial considering the prisoner’s entire makeover occurs within the space of a single panel?

Brent Schoonover’s illustrations for this ‘gestalt of ideas’ are also somewhat inconsistent in places. “Hailing from the epicentre of culture known as South Beloit” the artist can undoubtedly draw an impressively mean-looking Duggan, who despite occasionally appearing a little too much like one of James Cameron’s Terminators when battle-damaged, visually dominates every panel within which he appears. Disappointingly however the same cannot be said for Kraye, Hassan and the numerous poorly-depicted armoured S.H.I.E.L.D. agents who populate the rest of this comic's breakdowns.

Writer: Frank J. Barbiere, Art: Brent Schoonover, and Color Art: Nick Filardi

Howling Commandos Of S.H.I.E.L.D. #1 - Marvel Comics

HOWLING COMMANDOS OF S.H.I.E.L.D. No. 1, December 2015

Consisting of “the mightiest monsters in Marveldom” this rather tongue-in-cheek title’s narrative rarely pauses for breath during its debut publication courtesy of Frank J. Barbiere literally throwing S.H.I.E.L.D.’s “newest subsidiary to contain supernatural threats” into the thick of the action, as they’re deployed to secure the Earth Idol of Golthana from the hold of a tanker ship. Indeed the Brooklyn-based writer doesn’t even concern himself with providing his 44,532 strong audience with any meaningful introduction and simply has this comic’s opening start with a picture of an old-fashioned typewriter, upon which a short summary of long-time agent “Dum Dum” Dugan’s formation of the S.T.A.K.E. strike team is written. This extremely direct plot device is then immediately followed by the harrowing experience of “Captain Anderson of the S.S. Chaney” as the hard-hatted sailor is first attacked by former First Mate Scully and then saved by a heavily-armed monkey who blows the plant-infected crewman away.

Just as no-nonsense as the preamble to Issue One of “Howling Commandos Of S.H.I.E.L.D.” is Maria Hill’s pulse-pounding insertion of the Man-Thing, Teen Abomination, Vampire by Night, Hit-Monkey, Manphibian, and a zombified Jasper Sitwell elsewhere upon the stricken vessel. For no sooner has the reader recovered from witnessing a gun-toting small-sized simian in the distinctive dark blue uniform of a law-enforcement operative, than the rest of the chimp’s team-mates are introduced completely surrounded by the walking undead on-board the boat’s main deck, their automatic weapons blazing, powerfully-huge fists flying and razor-sharp claws disembowelling.

Admittedly there are times when the American author is forced to momentarily step away from the fourteen-page long frantic battle sequence in order to provide at least a little exposition as to why Duggan is now “an advanced Life-Model Decoy” and just how Warwolf happens to be the handler of Stan Lee’s bowler hat wearing co-creation. But these “earlier” scenes, sedentarily set at S.T.A.K.E. Command. Area 13, are equally as to the point as the rest of Barbiere’s penmanship for “Earth Idol”. Though just why “Dum Dum” arms his squad’s resident living brainless cadaver with a rocket launcher is however never adequately explained, even if Jasper blowing up his new field commander with a projectile later in the story is a potential ‘laugh out loud’ moment; “Wait, It’s me! Dum Dum! &%*$.”

Somewhat disappointing though is Brent Schoonover’s decidedly dynamic yet occasionally inconsistent pencilling. The American’s illustrator’s technique undoubtedly appears as similarly Late Seventies in style as this comic’s script does, and his renderings of Man-Thing, Manphibian and the gigantic Orrgo are outstanding. Yet “The Astonishing Ant-Man” artist’s panels depicting Commander Hill’s “bad Juju” briefing to Doctor Kraye and Reyna appear rather awkwardly wooden, as frustratingly does the majority of his “mindless humanoid plant creatures.”

The regular cover art of "HOWLING COMMANDOS OF S.H.I.E.L.D." No. 1 by Brent Schoonover & Nick Filardi

Marvel Two-In-One #1 - Marvel Comics

MARVEL TWO-IN-ONE No. 1, January 1974

It seems quite evident that Steve Gerber clearly had little concern as to just how contrived he needed to make the narrative for this first issue of “Marvel Two-In-One” in order to pair Benjamin Grimm and the Man-Thing up together. Why else would the Will Eisner Comic Book Hall of Famer have penned the Thing enduring “a day-an’-a half ride ta the Everglades” on a bus simply because “that swamp-rat” purportedly committed “plagiarism” by having a magazine ‘rip off his name” and steal his “moniker”? Indeed the founding member of the Fantastic Four’s oversensitivity to the Florida swamp creature “trying ta hog my glory” is ludicrous in the extreme and certainly doesn’t do justice to a Jack Kirby co-creation as famous for his selfless ‘heart of gold’ attitude as he is his orange rocky hide.

Equally as bizarre however has to be the Missouri-born writer’s creation of a second Molecule Man, who having vowed revenge upon Reed Richards' super-team for causing his father’s ignoble death on “a nameless world in a cosmos other than our own”, purposely exposes himself to “a shower of atomic particles” in order to be transformed into “the Monarch of the Universe!” Worryingly under-dressed in just an ornate thong, and armed with a metal wand capable of reversing an accelerated aging process that would actually see the villain “reduced to ashes” within seconds, Owen Reece’s bald-headed ‘successor’ proves a remarkably underwhelming foe for “the ever-lovin’ blue-eyed” Grimm and Ted Sallis’ alter-ego; especially when the manipulator of molecules is depicted impotently tapping his supposedly malfunctioning wand simply because “it won’t teleport me past the edge of this swamp.”

Gerber’s script for “Vengeance Of The Molecule Man!” does however still contain some noteworthy moments, such as its early nod to the lead character’s previous ‘team-ups’ alongside the Hulk and Iron Man in the final two issues of “Marvel Feature”, as well as a rare opportunity to see “the chemist who had been the Man-Thing” in action. In fact even “Flash-face” is eventually imbued with some chillingly cold-blooded gravitas as he quite horribly transforms a hapless resident of Citrusville into a duplicate of Mister Fantastic and promptly then stretches the screaming individual until his elastic body grotesquely snaps…

Arguably just as inconsistent as the storyline is Gil Kane’s disappointing artwork. It’s evident that the Shazam Award-winner was clearly capable of pencilling an impressively thick-set powerful-looking “orange-skinned buffoon”. But the American artist’s drawings of Molecule Man, Grimm and Sallis are actually all disconcertingly similar in appearance and, with the exception of the Yancy Streeter, seem astoundingly sinewy.

Writer: Steve Gerber, Penciller: Gil Kane, and Inker: Joe Sinnott

Marvel Two-In-One #43 - Marvel Comics

MARVEL TWO-IN-ONE No. 43, September 1978

In many ways “The Day The World Winds Down” is a fairly typical example of storytelling “in the mighty Marvel manner” of the Late Seventies. For not only does this seventeen-page periodical start with a lengthy montage as to the origin of the issue’s super-villain, Victorius, “a humble researcher toiling to recreate the Super-soldier serum that made… Captain America”. But its narrative then predominantly consists of little more than the title’s main protagonists battling it out with their opponents, before the adventure is actually resolved more through the use of the heroes’ brains than brawn.

Indeed in something of a role reversal it is actually Captain America who somewhat bizarrely reverts to simply duking it out with the “reborn” Victor Conrad. Whilst it’s left to Ben Grimm, now ‘just’ a normal being once again, that gets to reason with Jude, the Entropic Man and convince him that the arguably benign monster’s “coming was ill-timed” as Mankind doesn’t want to give up its existence yet; “I know life ain’t a picnic -- But it’s still the best game in town!” 

Despite following this well-tested formula for ‘success’ however, Ralph Macchio’s writing is disappointingly still even more contrived than usual for a “Marvel Comics” publication of this era and it genuinely feels that the New Yorker’s storyline was purely manufactured simply to have Steve Rogers engage in a fist-fight with a second-rate replica of himself. Why else, having seized control of the Cosmic Cube and already used its formidable power to “reform the remains of Yagzan” back from the dead, would Victorius then leave the device unattended, disrobe down to his ‘combat costume’ and tackle the Golden Age legend single-handedly?

Captain America also behaves entirely out of character throughout this issue, first clumsily silencing the Thing because he supposedly wants to hear the former AIM scientist’s backstory, and then later setting aside his shield due to “the First Avenger” apparently believing that “It’s time for a little lesson in unarmed combat techniques” to be given to one who wields the Cosmic Cube. Even the inclusion of the Man-Thing would appear to have been an afterthought, with the “empathic, humanoid creature” simply doing nothing within the adventure than shamble up to where Conrad left AIM’s miraculous invention and touch it. Hardly action enough to warrant top billing upon the cover of “Marvel Two-In-One”…

Fortunately such weaknesses to this tale of “Death in the Everglades” are easily forgotten courtesy of some early artwork by the Eagle Award-winning John Byrne. The British-born American illustrator’s pencilling of “Wing-Head” whilst he punches and kicks Victorius throughout the swamp is as dynamically drawn as any bibliophile could want. Though dishearteningly it would appear that printing deadlines got the better of the Englishman as some of the panels suggest a ‘friendly’ hand helped out on the final finished product.

Writer: Ralph Macchio, Artists: John Byrne and Friends, and Colorist: Phil Rachelson