Star Wars: Jedi Knights #10 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 10, February 2026

Supposedly revealing “the great mystery of the fan-favourite series… at last” Marc Guggenheim’s debatably overly simplistic narrative for Issue Ten of “Star Wars: Jedi Knights” probably left its readers with far more questions than actual answers. Indeed, the rather bizarre twenty-page-plot appears to unconvincingly blame the anger-fuelled advice of Count Dooku for all of Qui-Gon Jinn’s problems on Sinsara without ever really demonstrating just why the Jedi were subsequently banned from visiting the planet ever again.

True, the legendary Jedi Master definitely causes the Order to leave a dark stain upon the world’s surface when the future Sith Lord cuts down a good dozen or so of the criminally-inclined Behru during a past adventure. But to be fair to the small army of lawbreakers were about to kill both the “political idealist” and his young Padawan if he didn’t defend himself; “Step away and stand down. Or I will not be responsible for the consequences.”

Furthermore, the much-hyped “Saga of Corlis Rath” ends with Jinn simply talking his foe down and then letting the deadly assassin leave despite having cold-bloodedly murdered Master Fondar Etzis. As Obi-Wan Kenobi points out himself this show of clemency arguably makes little real sense, no matter how guilty Qui-Gon is supposedly feeling for his old Master’s mass slaughter, and leaves the crime of killing a wholly innocent Jedi Knight – as well an attack upon Mace Windu and Aayla Secura, go disconcertingly unpunished.

Lastly, many a bibliophile will probably be scratching their heads as to exactly what a young Jinn did wrong in the first place to cause Dooku to have to step in to save him. Apparently the Padawan was allowed to fight his seemingly unarmed opponent in the past with his light-sabre. Yet wasn’t permitted to knock his foe off of their feet using “Jedi witchcraft!” Just why this rule was put in place is never explained, nor why the Count of House Serenno is responsible for his inexperienced protégé utilising such a ploy during the fight.!?!

Disappointingly, even Madibek Musabekov’s pencils are a little questionable at times for this book, courtesy of some dubious flashback sequences which never really make it clear just how Qui-Gon is temporarily disarmed during his dual, or why the then Padawan’s subsequent sabre-strike causes such outrage – particularly when it clearly doesn’t kill Rath, just momentarily incapacitates him.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #10 by Madibek Musabekov & Jesus Aburtov

Superman/Spiderman #1 - DC Comics/Marvel Worldwide [Part Two]

SUPERMAN/SPIDER-MAN No. 1, May 2026

Arguably providing part of the meat within this Superman/Spider-Man sandwich, Christopher Priest’s “Pages” is something of a surprisingly odd tale which attempts to show Peter Parker’s symbiote-suited alter-ego that he is actually a comic book character. Indeed, the entire premise behind this eight-page plot is that Superboy Prime requires “your friendly neighbourhood” crime-fighter’s spider-sense to help him find his own world from “inside one of millions of turning pages.”

Coupled with several mind-bending panels pencilled by Daniel Sampere which depict the unlikely duo flying through a vortex littered with various printed publications, as well as a somewhat bizarre appearance by the High Evolutionary as the villain of the piece, it’s doubtful that many within this yarn’s audience will find its narrative very satisfying. Furthermore, the tale frustratingly ends just as the pair settle their differences with one another’s motivations and decide to tackle Herbert Edgar Wyndham’s cybernetic form head-on; “If we take out Evo’s sentient armour, we might have half a shot at this…”

Unfortunately this stance of ending the story just as the lead protagonists form an understanding with one another also badly haunts Sean Murphy’s “Beyond The Cobwebs Of Tomorrow”, as it concludes just as a disconcertingly thin-looking Superboy, Batman (Beyond) and Spider-Man 2099 form an alliance to take down Lex Luthor “in the near future.” This five-pager genuinely has plenty of potential with such an intriguing roster. But then literally comes to a disappointing stop once the Kryptonian youngster decides to lead the trio off to find the ever devious owner of LexCorp somewhere in outer space.

By far this anthology’s biggest surprise though is surely “Jimmy Con Carnage” which rather unceremoniously plonks photographer Jimmy Olsen before J. Jonah Jameson at the Daily Bugle. Penned by Matt Fraction and drawn by Steve Lieber, this astonishingly brief anecdote initially appears to be a rather fun, tongue-in-cheek account of “Superman’s Pal” trying to get a picture or two of Spider-Man before he’s fired from his new job. However, things very quickly turn decidedly dark once the young man unwisely takes a stroll down a blind alley in Manhattan and is quite literally disembowelled to death by the mass-murdering Cletus Kasady/Carnage before his trademark Superman Signal Watch can update its firmware.

Writers: Christopher Priest, Sean Murphy & Matt Fraction, and Artists: Daniel Sampere, Sean Murphy & Steve Lieber

Star Wars: Jedi Knights #9 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 9, January 2026

Whilst the character of Qui-Gon Jinn has arguably always been depicted as something of a head-strong, “maverick Jedi Master”. It is probably to fair to say he has never been shown to be downright rude, especially to those around him. Yet that’s precisely the sort of disagreeable attitude Count Dooku’s former protégé appears to suffer with in Marc Guggenheim’s script for Issue Nine of “Star Wars: Jedi Knights”. Indeed, considering that the basic premise of this comic’s plot is presumably to illustrate the marked difference between the “well-respected member of the Jedi Order” and his eventual Sith-corrupted master, the “Force-sensitive human male” appears at times to be just as rude and arrogant.

By far the best example of this hubris comes when Ginn decides to pay the Jedi Archives a visit on Coruscant and encounters the Chief Librarian Jocasta Nu. During this meeting Qui-Gon not only quickly dismisses the possibility that the learned bookworm can assist him with his research into “whether it’s possible for someone to alter their appearance.” But then condescendingly rejects the elderly woman’s belief that his assassin was a Sinsaran when the killer was; “But this man looks nothing like that species.”

Furthermore, many readers may well be scratching their heads as to what a young Ginn was supposed to do next during a lengthy flashback sequence to his days of being a Padawan, when the incredibly aggressive and hostile leader of the Behru attacks him after he’s tried to “negotiate a mutually beneficial cessation of hostilities.” It seems pretty clear that his would-be killers don’t appreciate anything except brute force. However, the supposedly older and far wiser Qui-Gon admonishes the Count of House Serenno for advising him back in the past to subsequently fight the murderous criminals once the Jedi’s good intentions had failed.

Equally as unsettling as the American author’s penmanship for this twenty-page-periodical is debatably many of Madibek Musabekov’s design choices – the first of which has to be the disconcerting pencils showing Ginn waking up from a hospital bed, as opposed to the artist possibly considering having the Jedi Knight be treated for his near fatal injuries inside a Bacta tank.? In addition, some bibliophiles may well feel that the illustrator’s handling of a young(ish) Dooku and Qui-Gon look little like their usually recognisable selves, with Obi-Wan Kenobi’s future master appearing far closer to that of Luke Skywalker than anyone else.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #9 by Madibek Musabekov & Jesus Aburtov

The Infernal Hulk #8 - Marvel Comics

THE INFERNAL HULK No. 8, August 2026

There’s probably some sort of reasonably acceptable plot lurking beneath the surface of “Beasts Of The Sanguine Tree” considering that within its narrative the “Earth's Mightiest Heroes reunite to stop [the] Infernal Hulk.” But due to Adam Gorham’s debatably disappointing pencils, many of its readers will surely struggle to enjoy its multiple plot-threads; most notably that involving Skaar and a sudden horde of underground dwelling goblins; “The Rutlings are not your concern. Leave this place.” 

To begin with it’s not made terribly clear from the Canadian illustrator’s layouts just what is happening when the titular character pays a visit to the resting place of Reverend Jonah Deveaux, and somehow utilises the Pious Gardener’s tree-growing abilities along with those of Glob Herman and the Multiple Man to create an enormous fruit-bearing conifer. Clearly this nefarious giant plant is going to cause the planet's population some problems in the near future. However, it’s genuinely difficult to see just what is going on with the ever growing evergreen from the various panels sketched of its diabolical birth.

Likewise the majority of onlookers will arguably have to wait until Doctor Banner calls General Thunderbolt Ross’s daughter by her first name before they twig Bruce is actually phoning up his ex-wife in Munchie, Indiana. This ultimately fiery exchange between the former couple is then made all the more bemusing by “your friendly neighbourhood comic artist” drawing the clearly angry woman either purposely self-harming herself by digging her fingernails into her arm as she attempts to make contact with her father, or inadvertently reopening the wounds she caused a few nights earlier when she freaked out over being unable to open a pot of ice cream.

Perhaps the biggest head-scratcher though is just how easily it appears the Avengers manage to penetrate down through the Earth’s crust in one of their quinjets and quickly discover the subterranean level lived on during “another Age of Monsters.” Now admittedly the planet’s surface has been somewhat recently ravaged by the Infernal Hulk’s recent (re)raising of the Living City and Iron Man’s “overpowered strike force.” But according to Gorham’s all-too brief depiction of Tony Stark piloting the flying vessel their journey is simply a matter of moments before they crash-land near the cavern hosting the mystical, all-healing tree supposedly made from God’s Blood.

The regular cover art of "INFERNAL HULK" #8 by Nic Klein

Superman/Spider-Man #1 - DC Comics/Marvel Worldwide [Part One]

SUPERMAN/SPIDER-MAN No. 1, May 2026

It’s probably a tough task to open up a publication specifically touted as celebrating fifty years of DC/Marvel crossovers. But Mark Waid’s “Truth, Justice And Great Responsibility” arguably does it rather well, thanks largely to its American author wasting absolutely no time in explaining how the two leading comic book franchises somehow share a merged existence together, and instead simply throwing his audience knee-deep into an enthralling adventure which sees Doctor Octopus and Brainiac joining forces to ensure that “world upon world will bow before the genius of Otto Octavius.”

Furthermore, the notion of the Daily Bugle’s photographer and Daily Planet’s reporter sharing an assignment together makes perfect sense, and logically allows the story’s protagonists to soon get into combat with their deadly adversaries. Splendidly sketched by Jorge Jimenez, these face-offs even contain a few surprises for fans of such team-ups, most notable of which is Superman encountering Doc Ock wielding a set of arms powered by synthetic Kryptonite; “I read about you… before the accident that turned you..! It’s not too late… to reform..!”

Similarly as scintillating has to be this anthology’s second yarn “The World’s Finest”, which rather cleverly follows the exploits of Lois Lane and Mary Jane as their beloveds battle a giant Sentinel-248. Penned by Tom King and dynamically drawn by Jim Lee, this nine-pager provides a genuinely intriguing insight into the lives of two of the central protagonist’s most beloved secondary cast members. Indeed, the sheer number of coincidences between the two characters is sincerely surprising as the women swap numerous notes with one another as to how dangerous their lives are.

In addition, the tale features a rather impressive cameo by Gambit, as the X-Man comes to both Spider-Man and Superman’s aid as they tackle their huge indestructible foe. However, this short-lived appearance by the smooth-talking Cajan mutant is also particularly welcome as it subsequently provides Lois with a wonderful moment in the spotlight as she scrambles around in her handbag for the set of playing cards she uses to gain detainee access with a guard at Stryker’s Island - a deck which is immediately put to good use by Chris Claremont’s co-creation, and brings the pulse-pounding punch-up to a suitably satisfying end.

Writers: Mark Waid & Tom King, and Artists: Jorge Jimenez & Jim Lee

Star Wars: Jedi Knights #8 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 8, December 2025

It’s debatably somewhat difficult to determine whether Marc Guggenheim purposely penned the central character in this story to be so dislikeable, or if the American screenwriter just inadvertently caused Soona Taj to be the main reason behind poor Seera Longa and Berem Khana’s pointless deaths. In fact, the New York City-born novelist actually does a good job of making the two “recently knighted” secondary cast members pretty disagreeable too when they place the entire onus of becoming a Jedi upon the shoulders of one so insanely young; “How can anyone that small make a decision so huge?”

This aversion for the main trio arguably makes it a tad tough to feel much pity for the Force Users when they rather naively fall for a space pirate ruse and land aboard the villains' vessel expecting to simply fix their ship's engines. Sure, the soon-to-be-dead heroes were initially trying to help its crew – which even the young child understands they must do. But the pair genuinely appear to be holding their own against their would-be-killers until the infant decides to ignore their order to safely remain aboard their T-6 Shuttle and promptly blunders right into the middle of a desperate firefight.

Such disobedience also makes it somewhat hard to swallow Kelleran Beq's claim that the Youngling is apparently “a very brave little girl” after he has to conveniently arrive to ‘save the day' and free her from a cell. This high praise however is then sensationally overshadowed when Soona suddenly manifests enough power to hurl the pirate’s captain to his doom, and then, without any training whatsoever, uses her force abilities to call one of her dead recruiters’ light-sabres and outrageously joins the supposed "fan-favourite Jedi" in his battle against the remaining bandits.

Easily this comic’s most intriguing element is therefore Madibek Musabekov’s layouts which depict the narrative exclusively from the perspective of Taj. This technique certainly is quite unusual from how most books are presented these days. Yet is also means that anyone can plainly see Seera’s shocked expression at seeing Soona appear behind her when the Jedi Knight is busy fending off the pirates, and her resultant death due to being fully focused upon the child rather than the laser-gun-toting despots trying to kill her. To make matters worse, the author desperately tries to fool his audience by suggesting that that the Pirate were “just lucky” when they gunned down Longa and Khana, when through the pencilled panels it's clear that the tiny child's presence caused both their downfalls.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #8 by Madibek Musabekov & Jesus Aburtov

Deadly Hands Of K'un-Lun #4 - Marvel Comics

DEADLY HANDS OF K'UN-LUN No. 4, July 2026

For those bibliophiles whose heads weren’t spinning following this comic’s opening summary of events, the book’s subsequent twenty-pages of almost endless kung-fu fighters and immortal weapons most surely will. Indeed, whilst the New York City-based publisher may claim that this issue of the mini-series is “its most epic chapter yet”, it is also arguably it’s most disorientating instalment too as Danny Rand pops up out of no-where to momentarily save the day and approximately “fifty Iron Fists” summon their inner chi to help the now one-armed Lin Lie transform into some sort of living armament; “Go, Pei, keep Shou-Lao’s egg safe!”

Of course, some critics of Yifan Jiang’s script may well point out that few readers will actually understand much, if any, of what the numerous plot-threads throws at them - such as just how the likes of Elektra (Daredevil) and the White Tiger ever joined the multi-dimensional fight to thwart Chiyou’s return to the Earth in the first place. But for those onlookers who enjoy simply being caught up in a publication-long, pulse-pounding punch-up, “Instant Karma” undeniably delivers and is well worth holding on tight for.

In addition, it’s hard not to get completely wrapped up in the writer’s enthusiasm for having so many of the Marvel Universe’s top martial artists battling it out against one another in a single title, even if the author’s numerous attempts to explain just what is going on via a plethora of text boxes falls significantly short of its purpose. The best thing for a reader to do really is to just let any semblance of sense wash right over them, and to merely enjoy the evident big bad guy’s apparent fall from grace once “Tiger’s faithful daughter’s necklace” is smashed into so many impotent, red-coloured beads.

Similarly as smashing as this comic’s scintillating speed and adrenaline-fueled action has to be illustrators Paco Medina & Alessandro Miracolo’s prodigiously pencilled panels, which bring life to so many different faces and figures. The pair somehow seem to miraculously imbue the entire cast of warriors within this book with both palpable emotion and convincing determination to succeed, as well as help push the audience along whenever the penmanship debatably doesn’t really manage to make it terribly clear just what is happening during a deadly tussle or encounter.

The regular cover art of "DEADLY HANDS OF K'UN-LUN" #4 by Leinil Francis Yu

Star Wars: Jedi Knights #7 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 7, November 2025

Falsely claiming that “Qui-Gon Jinn is dead!” at the beginning of this comic’s solicitation synopsis, it’s arguably difficult to therefore treat anything found within Issue Seven of “Star Wars: Jedi Knights” as implausible, sensationalist storytelling. Indeed, the very premise of its central plot appears to make no sense whatsoever when its revealed that the deadly assassin who previously cut down Count Dooku’s old padawan in the title's preceding instalment didn’t then just finish the job with one of his hand-weapons. But rather went to all the trouble of injecting his victim with the self-same, poison used to previously murder Jedi Master Fondar Etzis instead.

Furthermore, in using the now recognisable violet-coloured, slow-acting substance, as well as permitting an almost deceased Jinn to utter the name of the one planet where it's antidote is made, Marc Guggenheim is also able to manufacture Mace Windu and Aayla Secura’s desperate mission to a mysterious world where “Jedi are [apparently] forbidden.” Such a complicated contrivance should surely tax the willingness of any bibliophile to believe in the American author's subsequent penmanship, especially when he then has the two seasoned Force Users land their spacecraft at the one location where an inhabitant will dispense with the ramifications of Horomeeda, and tell the pair everything they need to know over a cup of tea.

Of course, this conversation luckily leads on to Windu and Secura needing to embark upon another assignment to convince the uncivilised thieves of “the most dangerous planet you’ve never heard of” to give them the rare cure before it’s too late – and subsequently chop down a gigantic Kaijura in the process. So clunky a narrative debatably doesn’t do the popular characters concerned any justice at all, and frustratingly even goes so far as to ignore perhaps this publication’s biggest draw which is to explore what the Jedi did to be banned from an entire world in the first place; “I… don’t know what that is.”

Fortunately, at least Madibek Musabekov’s artwork provides some prodigiously pencilled panels for this comic's audience to enjoy as the awkwardly-told yarn progresses. Although it does appear that the Kazakhstan-born illustrator ran out of room towards this adventure’s end, as one minute the titular characters have somewhat dubiously carried out King Gara’s demand and then in the very next instant they are disconcertingly back on Coruscant getting a medical update on Qui-Gon’s condition from Doctor Rig Nema.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #7 by Madibek Musabekov & Jesus Aburtov

White Widow #1 - Marvel Comics

WHITE WIDOW No. 1, January 2024

Perhaps a little surprisingly weighing in as the twenty-second best-selling comic of November 2023, and featuring an impressive opening which sees the titular character face-off against Captain America, things certainly seemed to be going in the right direction for Issue One of “White Widow” when the mini-series first hit the spinner-racks. Indeed, Yelena Belova’s initial interaction with the First Avenger, along with the appearance of the Superspy’s mentee Marthe appears to promise plenty of future skirmishes between the rogue agent and the finest super-heroes that the Marvel Universe can offer.

Disappointingly however, this notion seems to go completely out of the window once Sarah Gailey’s storytelling begins in earnest within the somewhat sleepy town limits of Idylhaven, and the American author rather unimpressively throws more information about the titular character’s new neighbours at her audience than any reader can possibly assimilate with even a couple of perusals. True, rattling off a number of lists concerning people’s ages, jobs and motivations, as well as those detailing the titular character’s loves, likes, dislikes and hates, certainly helps establish some sort of context for this book’s adventure in quick order. But it also arguably brings the publication’s pace down to that of a snail's crawl too.

Finally, any hope for Belova’s fans that this twenty-five-page periodical will show the Shadow of the Black Widow knee-deep in a yarn about international espionage, or simply tell of the deadly assassin’s code of conduct inexorably crashing into the moral virtues of the World's Mightiest Heroes are soon disconcertingly dashed when its revealed that the former Thunderbolt will just be confronting a somewhat small-time extortion racket in her own back yard; “I wanted someplace where things aren’t so much happening all the time, you know?” This underwhelming plot development must genuinely have frustrated those onlookers expecting so much more from a comic dedicated to “one of Marvel’s most enigmatic anti-heroes” and caused a fair few to refrain from pre-ordering its second instalment.

Unhappily, Alessandro Miracolo’s layouts don’t debatably live up to this “groundbreaking new chapter” in Yelena’s life either, despite the Italian illustrator demonstrating so much promise with his pencilling of the White Widow’s aforementioned skirmish with Captain America. Much of this frustration is undoubtedly due to the comic’s rather clunky script rather than anything else though, as whenever the artist is asked to sketch a punch-up or pulse-pounding panel he ramps up the adrenalin-fuelled violence in spades.

Writer: Sarah Gailey, Artist: Alessandro Miracolo & Color Artist: Matt Milla

Dungeons Of Doom #2 - Marvel Comics

DUNGEONS OF DOOM No. 2, April 2026

It’s debatably a little difficult for anyone perusing this thirty-page periodical to shake off the notion that they’re somehow participating in a game of “Dungeons & Dragons” rather than simply reading a comic penned by Phillip Kennedy Johnson and Benjamin Percy. Indeed, this mini-series’ second instalment throws so many of Gary Gygax’s well known tropes at its audience, whether that be the all-seeing Eye of Khonshu, a mysterious Skull-Shaped Herb and the well-named Hammer of Treachery, that with each passing challenge any and all bibliophiles will feel that they’ve somehow outwitted another of Doctor Doom’s deeply buried dangers.

Perhaps foremost of these short-lived episodes is the one following Major Simmons and his depleted squad of American soldiers. Desperate to regroup alongside the formidably strong Red Hulk, this party of adventurers arguably appear to have the most humanity of the different “warring global factions” inadvertently hurled into “Doom’s most secret, most forbidden dungeons.” However, if any onlooker thought such a motivation was somehow going to protect them from the horrors trapped behind brick and mortar, they are soon put right – courtesy of their commanding officers’ well-meaning move to allow a limbless cadaver to somehow once again speak its words of magic.

Likewise, despite solely consisting of a lone Wakandan, the story of Umbra bravely diving into so ghastly a pit of unholy terrors appears just as riveting. Admittedly to begin with the white-clad operative does appear to be little more than a “thief” transgressing Latveria’s sovereign territory for their own ends. But such a label soon falls flat when its revealed that the agent’s mission is to penetrate a chamber packed full of T'Challa’s national treasures which Doctor Victor Von Doom has clearly stolen from the Black Panther's kingdom over a period of time.

Finally, the notion that a single publication featuring the work of five different artists would ordinarily be somewhat scoffed at by most comic book critics. And yet the illustrations of Justin Mason, Robert Gill, Carlos Magno, Georges Jeanty and Karl Story all seem to blend together quite magnificently, with only the odd strangely-sketched image of General Thunderbolt Ross’ colourfully-skinned alter-ego making those perusing Issue Two of “Dungeons Of Doom” momentarily doubt Senior Editor Jordan D. White’s decision to utilise so many talents all together.

The regular cover art of "DUNGEONS OF DOOM" #2 by Leinil Francis Yu & Romulo Farardo Jr.

Star Wars: Jedi Knights #6 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 6, October 2025

Whilst there’s undoubtedly something akin to an acceptable adventure lurking within this publication’s twenty-page plot, the way Marc Guggenheim delivers his narrative for Issue Six of “Star Wars: Jedi Knights” will probably disappoint a fair few fans of the science fiction franchise. Furthermore, the notion of starting this tale after Jedi Master Fondar Etzis has already been assassinated on Mina-Rau will surely give many a bibliophile the unshakeable feeling that they’ve disappointingly missed the yarn’s true beginning; “He was instrumental in dealing with a group of bandits who had been stealing our crop yield.”

To make matters even worse though, the American screenwriter appears to utterly waste the characters of Mace Windu and Aayla Secura, relegating the top tier Jedi Masters to insensitive bumpkins who can neither feel the “darkness surrounding Master Etzis’ remains”, or anticipate the imminent attack upon them by Corlis Rath. Admittedly, this lack of basic Force powers does allow Qui-Gon Jinn with the opportunity to face his mysterious attacker single-handed. But it doesn’t arguably say much for the likes of Windu – the so-called “ greatest champion of The Jedi Order.”

Lastly, this comic shows Count Dooku’s protégé getting rather easily out-witted by his Sinsaran opponent when he has the dual-blade wielding hit man on the ropes. Such a shocking and seemingly fatal blow to the innards, certainly seems to set the scene for this ongoing series’ next instalment – something which hasn’t really happened before. Yet, it also debatably begs the question just why Rath risked tackling three of the Jedi Council’s top tier operatives alone and head-on, when he could surely have just poisoned Jinn when he was on Coruscant in a similar almost untraceable fashion to that used to murder Fondar..?

Far more successful than this book’s penmanship is Madibek Musabekov’s pencilling, which really comes into its fore during the ‘sword-fight’ between Qui-Gon and Corlis across a humongous, fully-functioning agricultural machine as it busily reaps the annual harvest. This adrenalin-fuelled action sequence is extremely well drawn with both participants exchanging blows as they leap amongst all the deadly working parts, and it’s genuinely a shame that this frantically-paced fray is ultimately so short-lived as the pair attain some level of safety on the combine’s topmost section.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #6 by Madibek Musabekov & Jesus Aburtov

Planet Of The Apes Verses Fantastic Four #4 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 4, July 2026

Whilst this twenty-page-periodical probably does provide “Marvel’s first crossover with the Planet of the Apes” with “a stunning and startling conclusion”, perhaps the comic’s biggest shock will actually come in it making its regular readers think they might have somehow missed an instalment of the mini-series somewhere down the line. Indeed, Reed Richards’ miraculous invention of a gauntlet which “should transfer the cosmic energy from the target to the wearer via touch” comes completely out of the blue, and may well cause many a bibliophile to pick up this title’s previous edition to double-check just where the conveniently useful device has mysteriously come from.

Furthermore, some within this publication’s audience may also become a little confused when it’s revealed that the Red Ghost has actually wiped Gaius’ memory of his attack upon the Orangutan's political stronghold, so that the President will rather handily believe his previous confrontation with the super-villain was just a “dream”. This unconvincing plot point was admittedly hinted at towards the end of this limited run’s last issue. But many onlookers will doubtless still point out that Josh Trujillo desperately needs to clarify the ape’s wavering position via both the book’s opening synopsis, as well as Ivan Kragoff’s detailed exposition at the magazine's start.

Lastly, the notion of Doctor Doom providing the Fantastic Four with the very means of their successful return to our modern-day world somewhat grates upon the nerves too. The Monarch of Latveria is well known for using his mechanical Doombots to save him from having to place his own person in physical danger. Yet in this adventure the American author would have his fans believe that the fully-armoured megalomaniac would fit one of his automatons with just the sort of in-built Di-Quantum Stabilizer and co-ordinates needed to get his greatest enemies home.

Far more agreeable than this comic’s writing is therefore the incredibly well pencilled layouts of Andrea Di Vito, which must genuinely have caught some by surprise when the Red Ghost’s Super-Apes suddenly turn upon their human master. Of particular note has to be Mikhlo absolutely socking Kragoff into the next century with a jaw-breaking wallop, as well the nostalgic use of the exercise pen as a background for Johnny Storm’s fight against General Ursus; “Climb up and get me if you want me so badly!”

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #4 by Greg Land & Rachelle Rosenberg

The Infernal Hulk #7 - Marvel Comics

THE INFERNAL HULK No. 7, July 2026

Whilst it’s never ever really explained just how the Infernal Hulk suddenly “exerts [a] mysterious control over all mutantkind” and begins “drawing them to his growing army in the horrific Living City”, it’s probably a safe bet that many a fan of this ongoing series will give Phillip Kennedy Johnson a pass due to the unconvincing notion setting up a scintillating scrap between the titular character and the X-Men. True, the confrontation only features those super-heroes located at the Factory Merle in Alaska – so doesn’t include such notable team members such as Wolverine, Rogue, Emma Frost and Ice Man. But this comic does still show Cyclops, Magneto and Magik doing their best against Eldest’s host body.

Furthermore, having horribly killed Marrow when the firstborn of Vinruviel kidnapped the Morlock Leech, the tense atmosphere inside the Sentinel manufacturing plant is arguably pretty palpable during the fight, with a few of the lesser known mutants certainly seeming to be close to a grim, grisly death whenever the Hulk turns his attention upon them. Indeed, at one point even Illyana Rasputina genuinely appears to be upon the cusp of being cut in two by the ‘daughter of horrors’ when the sorceress' Soulsword is taken from her; “This blade is bound… to your life force. Yes? What would happen, then… If I took your head with it?”

Perhaps far less impressive though is how the American author depicts the rest of the leading members of the Marvel Universe, who seem to be huddled up within the safety of the Baxter Building. Only Iron Man has actively challenged the might of the Hulk face-to-face so far, yet the way Reed Richards talks to such untried power-houses like Carol Danvers, Spider-Man, the Scarlet Witch and the Vision, any resistance against Eldest is disappointingly already doomed before it’s even begun.

Likewise, Adam Gorham’s artwork debatably doesn’t do the pulse-pounding punch-up much good either, with poor Sarah’s aforementioned death appearing to be overly gratuitous for no obvious reason. In fact, if it wasn’t for a hastily-sketch Pyro calling her by name some readers might even struggle to recognise that the figure sketched in the comic is actually Marrow, and not some other poor unknown Morlock. Furthermore the illustrator tries to cram in so much action into such thin panels, that there’s little room to really see who is doing what to each other when the action heats up – e.g. Magik actually stabling Hulk through the heart area with her hand-weapon.

The regular cover art of "INFERNAL HULK" #7 by Nic Klein

Star Wars: Jedi Knights #5 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 5, September 2025

Permeated with a persistent aura of untrustworthiness and treachery, Marc Guggenheim’s narrative for Issue Five of “Star Wars: Jedi Knights” arguably provides a rather intriguing insight into Count Dooku’s exploits before the Force Sensitive fully fell to the dark side of the Force. In fact, it seems clear that the future Darth Tyranus is already willing to cold-bloodedly kill his opponents “years before the Battle of Naboo”, and is already cultivating the wariness of Jedi Council Members such as Yaddle with his evident inclination to give in to his fury; “If that were so, you wouldn’t strike someone down in anger.”

Furthermore, the American author is very good at making his readers doubt as to whether the Count of House Serenno would actually have survived his encounter with Lonkus’ Wookie raiding party if he’d been alone, and question that his capture was just a ruse so the former Jedi Master could be taken to meet his attackers' leader face-to-face so as to kill them all. Certainly, Yaddle seems to doubt the man would have succeeded without her and Seera Longa’s help. But considering how easily Dooku appears to escape the criminals’ clutches, even when he’s chained-up, his predicament begs some tantalising ‘what if’ questions.

Likewise this twenty-page-periodical gives its audience an early look at Viceroy Nute Gunray’s descent into darkness, and the beginning of his relationship with Sheev Palpatine. Though not mentioned by name it’s clear that the Trade Federation representative is already up to his neck in dishonest dealings for the Galactic Senator, and now needs Darth Sidious to dispatch Dooku to “safeguard” the Neimoidian’s property from the supposedly legitimate Gillanter corporation as a favour. This plot-thread genuinely helps sell just how patiently planned the future Emperor’s plans are, and shows just how much his hand was guiding Gunray’s actions even before the illegal blockade of Naboo.

Perhaps therefore this comic’s one minor quibble lies with Madibek Musabekov’s design choice for one of the Wookie crooks who debatably is so thin and short-furred that it looks more like a red version of Dr. Seuss’ Grinch than a killer from the planet Kashyyyk. Other than this rather curious faux pas the illustrator’s pencilling is spot on – especially when it comes to selling the anger in Dooku and the Count’s sinister future predication as to the Jedi Council’s fate.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #5 by Rahzzah

Deadly Hands Of K'un-Lun #3 - Marvel Comics

DEADLY HANDS OF K'UN-LUN No. 3, June 2026

Considering just how many martial artists, Inhumans, Gods, and costumed crime-fighters are crammed into this twenty-page comic, some within this book’s audience probably couldn’t help but imagine the writer Yifan Jiang simply throwing as big a bucketload of characters at his manuscript as he could muster. True, this approach definitely provides a publication packed full of fisticuffs, karate chops and mystical machinations. However, it will also surely make the head spin of anyone actually reading it; “Juniors, well met! You… must be the new trainees! I am Pei, the sixty-eighth Iron Fist.”

In fact, it’s arguably wise for anyone perusing this periodical not to try and keep track of so many figures from the disconcertingly complicated lore of K’un-Lun, and simply allow themselves to be carried along by its incredibly violent, as well as pulse-pounding, storyline. Furthermore, despite the mini-series progressing a plethora of different sub-plots simultaneously, the central battle in Manhattan concerning Iron Fist, Elektra and White Tiger is clearly the author’s main focus, and certainly provides this adventure with a somewhat shocking conclusion.

What is also a bit of a pity though is that Karnak, “the Inhuman’s most powerful fighter”, isn’t given a little more ‘screen-time’ smacking Davos and his assassins around the Tower of Wisdom. Those bibliophiles old enough to recollect Jack Kirby’s design for the Advisor of the Inhuman Royal Family’s original costume might slightly balk at the man’s latest choice in attire. But that still doesn’t stop the thrill of watching him effortlessly kick and punch his way through a small army of highly inferior War Fists.

Easily this comic’s greatest asset is therefore the layouts of Paco Medina and Alessandro Miracolo, whose artwork immediately sucks in any onlookers even though this book’s opening scene comprises of little more than a disagreement between Danny Rand and the Egyptian deity Osiris in the Underworld. Of particular note has to be the way each and every body blow actually appears to reverberate upon their unfortunate target, as well as the exhilarating moment when White Tiger summons her Tiger God to manifest itself into a form somewhat akin to that of He-Man’s Battle Cat, and subsequently rides the giant beast into the very heart of battle.

The regular cover art of "DEADLY HANDS OF K'UN-LUN" #3 by Leinil Francis Yu

Star Wars: Jedi Knights #4 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 4, August 2025

Whilst Marc Guggenheim’s storyline for Issue Four of “Star Wars: Jedi Knights” undeniably contains a couple of somewhat exciting spacecraft-packed pursuits, it is highly unlikely that many of its readers will agree with the astonishing claim by “Marvel Worldwide” that the twenty-page-periodical depicts “the galactic chase to end all chases!” Indeed, the vast majority of this comic appears to instead simply focus on its significantly-sized cast just talking with one another, and tracking Phaedra down to Nar Shaddaa, rather than actually hot-footing it after the Quaraxian female criminal who has rather stupidly “stolen thousands of credits from Jabba The Hutt”.

Furthermore, considering that this book is supposed to be about the exploits of Jedi Knights, the so-called central protagonists play something of a minor role in the publication’s plot, with Qui-Gon Jinn and Shaak Ti arguably only being used as a decoy for the thief to fake her own death. This secondary role may well prove a bit disappointing for those bibliophiles expecting to learn more about the Jedi Order during the Republic, especially when the American screenwriter appears to try to play the pair as patsies at the tale's very end; “But if you’re in need of someone to kill you don’t rely on two Jedi Knights.”

Ultimately, the New York City-born writer also seemingly undermines just why “the entire galaxy is after” Phaedra by simply having her use her loot as proof of collateral for a big bet on the Malastare races. Taking such a dangerous risk for a far from certain wager may well strike some within the comic’s audience as being less than convincing behaviour for the notorious pilferer, as well as a much less interesting sub-plot than the yarn’s opening gambit of “a Senator [who] was fronting for Jabba” - an intriguing aspect of political corruption and villainy already penetrating the Galactic Republic's Senate which this comic disappointingly doesn’t follow up upon.

Quite possibly this book’s most appealing aspect therefore lies in the layouts of Madibek Musabekov, whose artwork brings all the different alien races to vibrant life. Of particular note is the way the artist manages to show how impressive the two Jedi Knights are when they finally reveal themselves to the likes of Aurra Sing, Zam Wesell and Bane Malar, as well as how he imbues the various spacecraft with a genuine sense of speed as they’re zooming over the sky of the Smuggler’s Moon.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #4 by Rahzzah

Planet Of The Apes Verses Fantastic Four #3 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 3, June 2026

Considering that this twenty-page-periodical contains plenty of pulse-pounding action, a nicely depicted trip down memory lane for those onlookers familiar with Franklin J. Schaffner’s 1968 motion picture, and a reasonably impressive cliff-hanger, there shouldn't be any doubt that Josh Trujillo’s script for Issue Three of “Planet Of The Apes Verses Fantastic Four” ticks all the boxes. However, for some within this mini-series’ audience the American author’s handling of Doctor Zaius and General Ursus seems somewhat off-key, as if the writer has somehow erroneously swapped the two leading cast members’ personalities around with one another.

For starters it really is hard to believe that the fiery “main antagonist of the 1970 film Beneath the Planet of the Apes” would so willingly obey the orders of two humans, even if one of them was Doctor Doom. Of course, it’s difficult to know what feats of strength the ruler of Latveria may well have shown the Supreme Commander of the gorilla army off-screen so as to bend the senior soldier to his will. But even so, to hear Ursus so timidly agree to the Red Ghost’s plan and then accept Victor placing his hand on his shoulder just doesn’t ring right; “You will serve us, General, and in turn, you will reign as ruler of this accursed planet.”

Likewise, the orangutan politician’s behaviour is a far cry from the member of the Ape National Assembly seen on the silver screen, with Zaius almost suffering an embolism due to his uncontrollable anger when referred to as a “monkey” by Ben Grimm. This insult sets the Minister of Science off into a savage attack against the likes of Cornelius and Zira – who are trying to protect the powerless Fantastic Four – and yet when Taylor previously tied him up and gagged him in the Forbidden Zone, the Chief Defender of the Faith appears uncomfortable at best, and certainly doesn’t have his armed entourage shoot the human down in cold blood when he eventually has the chance.

Far more successful than the writing is therefore arguably Andrea Di Vito’s artwork, which adds plenty of dynamism to the various demonstrations of super-powers this comic’s storyline requires. In addition, the Italian illustrator does a very good job of morphing Ape City’s most recognisable characters into “The Apetastic Four”, as well as suggesting the viciousness of the one-sided struggle taking place within the simians' municipal as President Gaius’ governmental forces are overrun by Ursus’ more numerous farmers.

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #3 by Greg Land & Rachelle Rosenberg

The Infernal Hulk #6 - Marvel Comics

THE INFERNAL HULK No. 6, June 2026

Considering that this twenty-page periodical makes good on its promise to depict Iron Man leading “an overpowered strike force to level the Living City and end the Age of Monsters forever”, Phillip Kennedy Johnson’s writing for Issue Six of “Infernal Hulk” probably still fell surprisingly flat with most of its audience. In fact, despite actually showcasing the titular character in an all-swinging fistfight against one of Earth’s Mightiest Heroes, there’s just something a little ‘wrong’ with how the cataclysmic story is told; “Twenty percent of the world’s arsenal is aimed at your living city right now.”

For starters, it’s not clear just why Tony Stark is the only super-hero taking up the challenge when this assault is supposedly the Earth’s best chance to kill Eldest’s seemingly unstoppable host; especially when the likes of Mister Fantastic and Bucky Barnes are watching it live along with the American military’s top brass. Surely if things were as dire as the leader of the Fantastic Four keeps saying then his super-powered squad would be ‘on the ground’ alongside Iron Man and his freshly-fashioned Hellbuster Armour? Not repeatedly stretching his rubber-like neck in disbelief as the firstborn of Vinruviel defies every planet-shattering attempt he has planned to defeat them.

Likewise it is never explained how Gologoltha of the Volantine Choir is able to survive quite literally having the land beneath its foundations obliterated, and resultantly dropping into the molten core of the Earth.? Admittedly, as the Infernal Hulk himself swiftly points out, the unholy metropolis is an Elder God capable of a great manner things. But somehow this comic’s readers are supposed to accept that it can both happily float upon the surface of the boiling lava it falls into, and then somehow shield itself from the white-hot laser-blast of an orbiting satellite without any plausible explanation whatsoever.

Lastly, the layouts of Adam Gorham arguably don’t help sell the storyline towards the battle’s end either, with much of the action beneath the world’s surface being unclear and indistinct. In addition, the Canadian artist’s decision to greatly reduce the amount of detail used for all of the aforementioned scenes featuring Reed Richards and the Winter Soldier genuinely make them appear the work of a far less able illustrator, and frustratingly snatch any onlooker out of the moment with their jarring contrast.

Writer: Phillip Kennedy Johnson, Artist: Adam Gorham, and Color Artist: Matthew Wilson

Deadly Hands Of K'un-Lun #2 - Marvel Comics

DEADLY HANDS OF K'UN-LUN No. 2, May 2026

Whilst there can surely be no doubt that Issue Two of “Deadly Hands Of K’un-Lun” is absolutely packed full of martial arts mayhem, Yifan Jiang’s script for the twenty-page periodical probably still serves as a good example of an author failing to provide his audience with any actual meaningful substance behind all the flash, bangs and wallops. In fact, despite many a fan inevitably enjoying the Inhuman Karnak giving General Davos a welcome beating at this comic’s very end, there isn’t debatably much else inside the book which will truly hook any perusing bibliophiles

By far this publication’s biggest problem is that the action takes place so fast that the narrative itself appears to repeatedly fail to inform any onlookers as to how or why the adrenalin-fuelled punch-ups are actually taking place – such as when Pei-Ya apparently decides to use Uncle Fooh’s Randall Gate 'off-screen' to transport herself and Ami to the City Outskirts of K’un-Lun. Admittedly, “one of the writers of the hit video game Marvel Rivals” does try to steer his ship by utilising the comic’s foreword to update any customers as to what supposedly occurred within this mini-series’ opening instalment. But such context is soon thrown aside once the dethroned ruler of K’un-Lun unsuccessfully attempts to assassinate her successor; “Did you really think it’d be that easy, Yu-Ti Sparrow..?”

Furthermore, it is not made particularly clear just why Lin Feng’s search for the last of Chiyou’s Soul Orbs has led his forces to New York, nor how they first encountered both Elektra (Daredevil) and the White Tiger. Instead, everyone is simply expected to hop aboard the violent bandwagon careening through Hell’s Kitchen, and just enjoy all the combatants exchanging super-charged attacks like it was an early episode of the 1989 Japanese animated series “Dragon Ball Z”.

Luckily, far more engrossing than Jiang’s penmanship is Paco Medina and Alessandro Miracolo’s artwork, which manages to convincingly convey the sheer physical violence needed for this somewhat senseless storyline. Of particular note has to be the sheer suddenness of General Davos’ aforementioned defeat at the hands of Karnak, and Lin Feng’s palpable shock at discovering that the next kingdom he needs to conquer is none other than that owned by the mighty Inhumans.

Writer: Yifan Jiang, and Artists: Paco Medina & Alessandro Miracolo

Deadly Hands Of K'un-Lun #1 - Marvel Comics

DEADLY HANDS OF K'UN-LUN No. 1, April 2026

Announced in November 2025 by “Marvel Worldwide” as a five-issue comic book limited series from “one of the creative minds behind the hit video game, Marvel Rivals”, this twenty-five page periodical probably appeared to be a bit of a mess when it finally landed in the hands of its customers some months later. Indeed, the publication’s opening, which contains numerous narrative word boxes in addition to all manner of fantastical fighters talking is genuinely hard to persevere through, as it is often hard to establish just which piece of dialogue (or narration) needs to be viewed next; “Their champion has fallen. The Chamber of Knowledge is ready for you.”

Furthermore, writer Yifan Jiang appears to almost ‘double-down’ on this multiple-voice technique by having the title’s hero, Lin Lie, not only talk to his fellow costumed crime-fighter White Fox whilst they’re battling some giant octopus at a local Seaside Aquarium. But also Pei, the former Iron Fist, via some covert communications network and directly to the readers too. Such a technique debatably makes it really difficult for any perusing bibliophile to focus upon any action taking place, and may well cause a fair few re-reads as well – especially when Ami Han is inexplicably replaced by a giant three-tailed animal which simply barrels the aforementioned eight-tentacled sea monster back into the ocean.

Unfortunately this ‘battle’ to understand just what is actually taking place even continues into this comic’s final act, when the author suddenly seems to throw the likes of Elektra (Daredevil) and White Tiger into the mix upon a Hell’s Kitchen rooftop. Supposedly also drawn to Neon Dragon’s “dark energy”, these street-level super-heroes add even more word-heavy speech balloons to the proceedings, and seem to have little purpose except to distract any onlooker from the momentous confrontation between the current Iron Fist and one of his evil brother’s top minions.

What does work absolute wonders though are Paco Medina’s layouts, which are crammed full of adrenalin-fuelled action and martial art manoeuvres. In fact, the illustrator is clearly at the very top of their game with this book’s pencilling, as they manage to repeatedly provide all the cast members with plenty of animated life – as well as the odd death, such as in the case of the brave yet doomed Fat Cobra.

The regular cover art of "DEADLY HANDS OF K'UN-LUN" #1 by Leinil Francis Yu & Federico Blee