Astonishing Tales #35 - Marvel Comics

ASTONISHING TALES No. 35, May 1976

Initially appearing to pit Deathlok against Simon Ryker deep inside the virtual world of the Omni-computer, Rich Buckler’s plot for Issue Thirty Five of “Astonishing Tales” contains so many twists and turns that it probably had many a bibliophile’s head spinning once they'd perused the entire seventeen-page periodical. Indeed, by the time this publication is only half-way through the Demolisher has already been depicted witnessing the backstory behind an enforced exodus of the Big Apple’s population to Long Island, participating in a battle of wills against his arch-nemesis, and awakening to find his consciousness momentarily inhabiting the physical body of Project: Alpha Mech’s diabolical leader.

Enjoyably however, despite many of these sensational incidents occurring without too much rhyme or reason, Bill Mantlo’s wonderful writing still makes many of their elements sound potentially plausible, and such is the euphoric pace of the prolific penmanship that most readers would have been merrily carried along for the ride without much thought as to its believability anyway; “Reverse the molecular flow! Blast it, man! Move!!”

Possibly this comic’s biggest ‘shake-up’ though comes in the guise of Teresa Deveraux and the seemingly limitless advanced technological savvy of Earth-7484’s Central Intelligence Agency. Almost within the space of just a handful of panels this latest organisation competing for control of a post-apocalyptic America not only manages to ensure Ryker is reduced to a naked, gibbering madman. But also does the supposedly impossible by relocating Luther Manning’s brainwaves into a fully-functioning clone body during “the first successful mind transference on a live subject” ever.

Equally as enthralling as a book packed full of arrogant dictators, all-knowing computer programmes, and highly covert government operatives, is Buckler’s prodigious pencilling. Along with the inks and colours of Klaus Janson, Deathlok’s creator does a first-rate job in sketching the cyborg at the height of his mechanical powers – whether that be him staying steadfast during the heat of battle as he locks hands with his mortal enemy in an unbreakable hold, or unhappily following along with Deveraux’s suspicious trip back to Fort Dix and the facility’s ominous surgical theatre. Furthermore, the artist provides Ryker with a convincing mental breakdown – especially when the tyrant discovers his personality has been inadvertently channelled directly into Manning’s decaying, undead corpse.

Script: Bill Mantlo, Concept, Plot & Art: Rich Butler, and Inks & Colors: Klaus Janson

West Coast Avengers [2024] #2 - Marvel Comics

WEST COAST AVENGERS No. 2, February 2025

Whilst parts of this twenty-page periodical may strike some within its audience as being a little rough around the edges, Gerry Duggan’s script for Issue Two of “West Coast Avengers” certainly should have held their attention. Indeed, the comic contains a genuinely enthralling mixture of pulse-pounding pugilism and dysfunctional super-team dynamics, as Iron Man’s squad face-off against an international arms smuggling ring and Firestar “officially joins” the "Wackos"; “All right. I admit I have a thing about robots at the moment. But… Why are you trusting Ultron.?!”

Furthermore, the book initially provides Spider-Woman with a significant amount of ‘screentime’, and this really helps sell the covert operative background to Jessica Drew’s colourfully costumed alter-ego, before she then just brutally batters Flag Smasher and his minions aboard Grant Rogers’ re-papered sea vessel. Such an insight proves a great reminder to the reader as to the character’s lengthy background, and also helps inject some humour into the tense situation by showing how grossed out she becomes when the lecherous Blue Bolt pays some interest in her.

Equally as enjoyable however is this book’s much more sedentary second-half, which focuses upon Angelica Jones’ arrival at the Los Angeles Avengers Campus. There’s a very clear suggestion in this publication that all is not what it seems with Tony Stark’s supposed “A-List Hero”, and her extreme overreaction upon first encountering the former, would-be world conqueror Ultron, does not bode well for whichever reformed villain Chris Claremont’s co-creation is meant to be mentoring.

Unfortunately, the same praise can not be heaped upon the interior artwork of this comic due to some occasional, jarringly weak pencilling by Danny Kim. There is no doubt that the illustrator can create some dynamic, adrenalin-fuelled moments with his drawing – such as when Spider-Woman singlehandedly takes down a helicopter crammed full of heavily-armed goons. Yet, every now and then, a panel or two will look disconcertingly amateurish at best, like one picture where an exasperated Stark is shown clasping his hands to the sides of his head. Sadly, such sketches will undoubtedly snatch any perusing bibliophile straight out of the moment, and make them question just how much time the creative team were given before this particular title was thrown together.

The regular cover art of "WEST COAST AVENGERS" #2 by Ben Harvey

Star Wars: Jedi Knights #2 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 2, June 2025

Rather cleverly throwing his audience straight in at the deep-end of this comic’s storyline by utilising its opening scrawl to quickly establish a sense-shattering scene, Marc Guggenheim’s penmanship for Issue Two of “Star Wars: Jedi Knights” certainly imbues the twenty-page periodical with a pulse-pounding pace. In fact, even when the American television producer does decide to step away from the action and flashback to Yoda and Vetna Mooncrest's first steps upon “the remote moon of Veeros”, the diplomatic pleasantries with the majordomo droid Blue-Tark are politely short and succinct; “Thank you for your gracious hospitality. Extend our gratitude, please, to Atha Prime."

Of course, most of the readers’ attention will probably be focused upon the diminutive legendary Jedi Grand Master actually being 'out in the field’ fighting off a horde of seriously-fanged extra-terrestrials. Impressively demonstrating that numbers “matter not” before leaping off for a one-on-one duel with this ongoing series’ leading antagonist, it is hard to take your eyes off of the green-skinned leader of the Jedi Order. However, his female human companion is also very well written, displaying plenty of wit when her comrade-in-arms leaves her alone to face a ton of murderous Xerexi, as well as vulnerability due to her congenital condition’s implants being susceptible to the local radiation.

Similarly as successful as the heroes though, has to be the New York City-born author’s use of “a never-released Kenner action figure.” Atha Prime genuinely comes across as a terrifyingly mad, homicidal maniac, who whilst not up to the Dark Lord of the Sith’s standard, still manages to dominant all of the set-pieces in which he appears. Indeed, desperate to transform the galaxy in his own image by using his deadly creations to cut away its ills, the character appears to have been cut from a similar cloth to that of David 8 – the dangerous android seen in Ridley Scott’s 2012 science fiction film “Prometheus”.

Finally, a huge amount of praise should be heaped upon the shoulders of Madibek Musabekov and color artist Luis Guerrero for bringing this “strange, fantastic and mysterious world” to incredible life. The sense of so many vicious killers encircling this publication’s Jedi is truly palpable, as are the blows poor Yoda suffers at the hands of a clearly formidably trained Atha Prime.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #2 by Rahzzah

West Coast Avengers [2024] #1 - Marvel Comics

WEST COAST AVENGERS No. 1, January 2025

Announced at the 2024 San Diego Comic Con, and promising an “iconic team with a superstar lineup of Earth’s Mightiest Heroes, including a seemingly redeemed Ultron”, Gerry Duggan’s script for Issue One of “West Coast Avengers” arguably lives up to all its pre-publication hype. In fact, the comic contains a considerable number of intriguing conundrums which should keep its audience well and truly engrossed throughout the ongoing series’ run; “Did you ask me to join because I have a rap sheet?”

Foremost of these hooks has to be the inclusion of Hank Pym’s homicidal robot on the super-team’s roster. Responsible for countless failed attempts to dominate the world, the mass-murdering machine understandably brings an element of menace to every scene in which he appears - including those where he is clearly saving the lives of innocent Californians. So palpable an atmosphere of deadly duplicity should genuinely convince this book’s audience that at any moment the adamantium-bodied artificial intelligence will brutally betray his team-makes, and such unease will arguably make it really difficult for any reader to put this twenty-six page publication down.

In addition, the American author is very good at sowing plenty of discontent and disharmony within the remaining squad members, despite the likes of Iron Man, War Machine, and even Spider-Woman having plenty of experience working with others. Much of this friction is undoubtedly caused by the disagreeably arrogant Blue Bolt, who seems utterly resistant to any other options than just blowing his opponents up with his Electrokinesis. However, Tony Stark too appears to be fighting plenty of other demons himself, as well as rather humorously weighing a couple more pounds than he did when he first donned his Silver Centurion armour.

Disappointingly, what does let this comic down though are some of Danny Kim’s layouts, which whilst being proficiently pencilled overall, also appear a little too rough and ready from time to time. Indeed, a considerable number of the artist’s panels contain little to no background whatsoever, and after a while this frustratingly bland-looking technique unfortunately gives the impression that the illustrator was in some sort of a hurry to get on to the next drawing assignment, rather than provide his audience with an enticing view of events as they unfold.

The regular cover art of "WEST COAST AVENGERS" #1 by Ben Harvey

Astonishing Tales #34 - Marvel Comics

ASTONISHING TALES No. 34, March 1976

Apparently produced, conceived, plotted and drawn by Deathlok’s creator Rich Buckler, it’s difficult to imagine what more could possibly have been squeezed into Bill Mantlo’s script for this seventeen-page periodical. Sure, the seemingly never ending twists and turns of Luther Manning’s ordeal may well have threatened to confound the senses of anyone picking the book up off from their local comic store’s spinner rack. But it’s arguably hard to find too much fault with a storyline that contains such an adrenalin-fuelled concoction of laser guns, helicopter attacks, enormous explosions, and sense-shattering sonic assaults.

Furthermore, this publication genuinely shows just how complex a post-apocalyptic world the cyborg assassin inhabits, with New York City’s civilisation evolving from just a dilapidated metropolis where cannibals lurk in every shadow into a genuine war zone in which various heavily-armed, and technologically-advanced factions are fighting tooth and nail for domination. Indeed, just as this ongoing series’ audience were settling down to the simple notion of the ill-equipped Provisional Revolutionary Army rebelling against Simon Ryker’s evil military dictatorship, the Demolisher discovers both the existence of Teresa Deveraux’s Central Intelligence Agency, and the deadly Machiavellian machinations of Hellinger’s covert operation too.

Of course, in order to make so many conflicting sub-plots merge together into a single, albeit complicated, storyline the Brooklyn-born writer has to take a few liberties when it comes to highly convenient happenstances - such as the C.I.A. having the expertise necessary to rebuild a badly-damaged Deathlok, and the mind of the surgeon responsible for the cyborg being transferred into a clone of Manning’s original body. However, the creative team appear to be rather laudably trying to tie together an incredible number of loose ends, whilst simultaneously introducing their audience to a number of all-new twists and enthralling turns; “You may not believe this, Luth’… Even if you could hear me -- But I hope you’re alive!”

It’s also clear that letterer Karen Mantlo was incredibly busy on this book, with panel after panel being filled to the brim with some occasionally utterly illegible text boxes. Resultantly, there’s a lot more weight resting upon Buckler’s artistic shoulders to keep any perusing bibliophile’s eyes locked onto the action – a task he does incredibly well, especially during the scene where Deathlok has his bionic arm destroyed.

Script: Bill Mantlo, Concept, Plot & Art: Rich Butler, and Inks & Colors: Klaus Janson

Star Wars: Jedi Knights #1 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 1, May 2025

Announced at the 2024 New York Comic Con by “Marvel Worldwide”, Marc Guggenheim’s narrative for Issue One of “Star Wars: Jedi Knights” certainly seems to do a decent job in showing its audience just how “the guardians of peace and justice” went about their work prior to George Lucas’ 1999 movie “The Phantom Menace”. Indeed, during a month when rivals “DC Comics” published the top six best-selling titles (at least according to “icv2.com”), the fact that this ongoing series managed to rank twenty-seventh is arguably a testament to just how excited collectors possibly were for the Emmy Award-winning screenwriter’s vision of “a galaxy far, far away…”

Delightfully, these hopes certainly appear to be met with “The Invasion Of Syrinx Prime”, which quite cleverly manages to depict both the sheer scope of Supreme Chancellor Valorum’s democratic rule across the Republic, as well as simultaneously spotlight a fair few fan-favourite Jedi Knights too. This combination of Galactic Senate politics and light-sabre battles is quite beautifully intertwined within the American author’s narrative – especially once an assassination attempt is made upon Qui-Gon Jinn whilst he’s negotiating with General Lafco on the planet Vekura.

In addition, this twenty-four page periodical lives up to its pre-publication promise of introducing some “brand-new Jedi” into the era. Whether or not the “overconfident” Berem Khana will prove as popular as the likes of Obi-Wan Kenobi, Yoda and Mace Windu is rather doubtful. But the recently knighted character certainly seems to show potential with his mix of youthful arrogance and apparent willingness to learn from his more experienced mentors. In fact, the somewhat cynical young man rather surprisingly brings some much-needed humour to the narrative when he appears to ‘win’ favour with the Jedi Order’s legendary leader by simply quoting something Jinn had actually said to him in admonishment; “Suspicion is not knowledge. Theories are not truth.”  

Also helping to make this book a success is “rising star artist” Madibek Musabekov, who appears absolutely determined to cram as many recognisable Jedi Knights into their layouts as they can. Furthermore, the Kazakhstan-born penciller appears particularly adept at drawing the fast-paced action needed to depict a fully mature “member of the Order” who is at the height of their powers, with Qui-Gon’s aforementioned fight demonstrating just what the impressive Master of the Force can do with both his light-sabre and other special abilities.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #1 by Rahzzah

The Thing [2025] #4 - Marvel Comics

THE THING No. 4, October 2025

There’s a distinct atmosphere of sheer zaniness to Issue Four of “The Thing” that may well please many fans of the Fantastic Four's founding member. Indeed, whether it be the members of the Serpent Society all wisely agreeing that ten million dollars isn’t anywhere near enough cash to tackle Ben Grimm head-on, or the rock-covered Yancy Streeter running as fast as he can from the Red Ghost and his nefarious apes, everything within Tony Fleecs’ twenty-page long narrative appears to have been penned for laughs; “Nope. Absolutely not! I ain’t punchin’ monkeys today.”

However, such a humorous tone also wrecks any solemnity to the titular character’s dilemma of desperately needing to return a seemingly vulnerable, kidnapped child to her home, whilst simultaneously fending off a seriously long roster of the Marvel Universe’s most notorious super-villains. Poor little Sara is clearly becoming increasingly traumatised by the entire ordeal. Yet due the sheer number of slap-stick scenes crammed into this comic, the child’s terror arguably just doesn’t appear all that convincing, and resultantly therefore loses much of the drama it ordinarily would have had.

Easily this book’s biggest disappointment though surely comes with the Thing’s abrupt ability to stop the mighty Juggernaut mid-charge with a single hand, and then end the pair’s highly anticipated confrontation after just a few panels. Such a titanic, highly promising punch-up – which even garners the attention of cover artists Nick Bradshaw and Rachelle Rosenberg - probably had a high number of this mini-series’ readers drooling at the prospect of some top tier fisticuffs. But instead Grimm doesn’t do much of anything except toss Black Tom across Lower Manhattan, so the supposedly unstoppable Cain Marko has to regrettably rush off to find him.

Also rather disappointing is Justin Mason’s pencilling, which just seems to be slightly off-kilter when it comes to him depicting this publication’s considerably-sized cast. The illustrator's goofy facial expressions and awkward-looking poses particularly jar with the seriousness of Ben's perilous predicament, and such a sketching style resultantly detracts from some of the more adrenalin-fuelled moments - like when the Thing and Moonstone momentarily stand toe-to-toe so as to exchange punches on a street corner.

The regular cover art of "THE THING" #4 by Nick Bradshaw & Rachelel Rosenberg

The Incredible Hulk [2023] #28 - Marvel Comics

THE INCREDIBLE HULK No. 28, October 2025

Promising “the biggest status quo change in Hulk's history” in its pre-publication synopsis, this twenty-page periodical’s plot probably disappointed the vast majority of its readers, due to Phillip Kennedy Johnson seemingly throwing a series of story-threads up against the wall and seeing what successfully stuck. Indeed, this comic genuinely feels like the American author had a handful of different ideas floating about his head, and simply decided to crowbar them all together into this one book; “Hear me, Eldest. Your prey is here. Send your Ferryman, Djieien of the Many Eyes.”

For starters just how Bruce Banner’s gamma-irradiated alter-ego comes to be deputised by Inspector Francis Bergeron of the Pinkerton Detective Agency is rather bemusing to say the least. One moment the founding Avenger is shown climbing the top of a frozen mountain peak, and then in the next panel the Green Goliath is suddenly struck by a massive bolt of lightning. Just how this electrical blast takes him back to the streets of New Orleans isn’t in any way explained, and is frustratingly just left as an unconvincingly convenient occurrence.

Likewise the Hulk's highly intriguing partnership with the stuttering Ghost Detective appears to pointlessly end on a whim, after it initially looked set to throw the audience head-first into an underground laboratory packed full of macabre, Frankenstein-like undead cadavers. This unexpected decision is particularly frustrating as it smacks of the Eisner-nominated writer realising he had nothing for the long deceased policeman to specifically do, and so abruptly disposes of his spirit with a nonchalant hand gesture by “the greater of the Brothers Drumm.”

Quite possibly this comic’s biggest disappointment though, stems from the debatably rough-looking layouts of Adam Gorham. The Canadian artist certainly does an excellent job of capturing all the tranquil beauty an onlooker might imagine if they were sat far beneath the ocean waves aboard a sunken ship and merely looking at the shoals of fish passing them by. But by the time the action has moved on to the Hulk encountering Betty at “the place where the One Below All emerged”, the illustrator’s rather raw pencils have probably raised more questions in the audience’s minds, than they've answered – such as just what are the strange, yellow orbs he keeps sketching that then shatter upon the titular character’s chest..?

The regular cover art of "THE INCREDIBLE HULK" #28 by Nic Klein

Astonishing Tales #33 - Marvel Comics

ASTONISHING TALES No. 33, January 1976

Buried beneath a veritable ton of hard to read white coloured text upon an inky black background, Bill Mantlo’s script for Issue Thirty Three of “Astonishing Tales” probably still managed to please most of its audience. In fact, the eighteen-page periodical contains a genuinely perturbing series of sub-plots which range from Deathlok slowly dying from a “partial drainage of life-support fluid”, through to the revelation that the despicable Major Simon Ryker apparently has an equally-evil brother who is known as the Homo-Ascendant!”

Disappointingly though, very few of these story-threads are arguably given the time they need to fully develop, and instead are seemingly just hurled together without much in the way of rhyme or reason. One such sequence involves the villainous Ryker himself undergoing some sort of surgical operation which results in the maniac being completely sedated and connected to his all-power Omni-Computer. It seems abundantly clear that the terrified doctors transforming the military officer into “the Saviour Machine” could easily assassinate him during the complicated procedure by “a slight adjustment in its programming” and escape. Yet even though this option is voiced aloud, the general consensus is that the moustached monster would apparently still somehow survive, and then simply take a terrible revenge upon them.

In addition, the sudden appearance of Hellinger (Harlan Ryker) inside a guarded estate belonging to the man-turned-machine’s sibling, debatably makes little sense whatsoever either. Just why the major would knowingly allow so dangerous an adversary access to his futuristic computer systems, create a clone of Luther Manning, and reside next to a room packed full of state-of-the-art laser weapons is never explained. Nor just how the shady character somehow manages to convince the Demolisher to hand-cuff himself to a bomb so as to blow up a castle containing Mike Travers and Nina Ferry; “Hey! The cable! It’s still on! It hasn’t released! That dirty, double-crossin’ son of a -- It’s gonna blow any second, ‘puter!”

What does work however, at least for the majority of this comic book, are Rich Buckler’s layouts. The creator of Deathlok appears to be particularly good at pencilling the inner turmoil taking place behind the resurrected soldier’s eyes, as well as the six-hundred pound cyborg’s physicality – even if he’s simply striding across a grass-covered lawn breaking its blades wherever he steps, or deciding whether to gun someone down.

Script: Bill Mantlo, Pencils: Rich Butler, & Inks/Colors: Klaus Janson

Astonishing Tales #32 - Marvel Comics

ASTONISHING TALES No. 32, November 1975

Considering the amount of behind-the-scenes mayhem which seems to have occurred to get Issue Thirty Two of “Astonishing Tales” fit for the spinner rack, it’s rather impressive that Rich Buckler’s plot arguably works out as well as it does. Indeed, quite neatly meshing together the somewhat separate storylines of Deathlok and Mike Travers, as the pair bravely forge ahead with their own adventures in post-apocalyptic New York City, “The Man Who Sold The World!” should have repeatedly caused its concerned audience to wonder whether either of the protagonists were ever going to make it to the end of the seventeen-page periodical alive; “You guys put too much faith in Ryker’s seeing eye dog! Don’t forget -- I helped build it!”

Perhaps somewhat surprisingly, one of these biggest fears debatably stems from Travers’ almost suicidal attempt to rescue Nina Ferry from the very “building where he [himself] was held captive.” This utterly reckless, one-man assault bodes very poorly just as soon as Luther Manning’s “ex-war buddy” enters the foyer and has to throttle the first of several armed guards he encounters inside. Eventually, the Lieutenant is completely surrounded. Yet rather than surrender he brazenly turns his automatic weapon on his would-be-captors in a heart-stopping do-or-die effort.

To be honest though, the Demolisher doesn’t appear to be any less willing to sacrifice himself for a hopeless cause either, and repeatedly throws himself into conflicts against superior numbers despite there being a “87.00967% probability of being destroyed.” In fact, Deathlok’s determination to find out the name of the surgeon who could theoretically transform him back into a living being is so palpable, that it surely appeared certain to many a bibliophile that the war veteran was repeatedly just a paltry panel away from trying to punch one too many homicidal human drones, or flesh-hungry cannibals.

In view of all these scares however, this publication’s greatest shock is most likely how strong its interior artwork looks, despite Buckler, Keith Pollard, Bob McLeod and “the whole blame Bullpen” having to get together to get the book fully illustrated. Naturally some of the sequences, such as Simon Ryker ordering a soldier to have his computer “assemble a read-out on a man named Victorio Quartuccio”, look understandably rushed and incongruous with some of the surrounding pencilling. But there should be no doubt that whenever Manning throws a punch, or hurls a subway’s trolley cart at a group of assailants, bones are most definitely being broken.

Plot, Concept & Script: Rich Butler, Script: Bill Mantlo, Artwork: Rich Butler, Keith Pollard, Bob McLeod & The Whole Blame Bullpen

Astonishing Tales #31 - Marvel Comics

ASTONISHING TALES No. 31, August 1975

Despite this edition featuring a fantastically-sketched cover of Deathlok by Ed Hannigan and Bernie Wrightson – something which apparently “really steamed” the character’s creator Rich Buckler when he found out about it, Issue Thirty One of “Astonishing Tales” most likely proved a dissatisfying read to many of its buyers. Sure, Doug Moench’s script certainly delves deep into the previously dead soldier’s resurrected psyche, and provides plenty of adrenaline-fuelled action as the cyborg battles a rooftop full of gun-toting killers. But it is also absolutely crammed full of unconvincing coincidences and startlingly concludes after just ten pages; “Of all the stinkin’ slimy, lousy, dirty rotten --”

In addition, having previously spent some considerable sheet space showing Mike Travers escaping the insane clutches of Simon Ryker and one of the madman's computer-controlled cells, the American author conveniently pens him walking straight into the titular half-human mechanism. This meeting, smack in the middle of a post-apocalyptic Manhattan seems highly unlikely, though nowhere near as implausible as Luther Manning’s subsequent encounter with a hoodlum who knows the specific location of “the surgeon who worked on that Deathlok Goon” on a random apartment’s rooftop.

Much more compelling than this comic’s penmanship though, is Buckler and Keith Pollard’s artwork – which is quite wonderfully inked by Klaus Janson. The previously mentioned battle between the Demolisher and some pistol-carrying criminals is extremely well-drawn, and must have left this publication’s audience wondering what other dynamic sequences might have occurred if Rich hadn’t allegedly prioritised pencilling “a few one-off stories for DC Comics” during this time period, as well as supposedly creating “a whole new feature” for Atlas/Seaboard Comics.

Perhaps this book’s best hook can therefore be found with Stan Lee’s back-up tale “Why Won’t They Believe Me?” Illustrated by the “genial Gene Colan”, this reprint from an old “Silver Surfer” periodical proves a much more succinct reading experience, and by its conclusion rather neatly answers a number of initially alarming questions as to just how a human can understand the scribblings inside an alien spacecraft's log book. Indeed, it’s arguably easy to see just why the notion of an amnesiac extra-terrestrial would later be reused by Roger Stern and John Byrne for a future instalment of “Marvel: The Lost Generation” some twenty-five years later.

Writer: Doug Moench, amd Artists: Rich Butler & Keith Pollard

Red Hulk #7 - Marvel Comics

RED HULK No. 7, October 2025

Disconcertingly penning a helpless Thunderbolt Ross being strapped to an experimentation table for most of this twenty-page periodical’s plot, Benjamin Percy arguably plays something of a dangerous game in hoping that the unlikely pairing of Deathlok and Machine Man will provide its audience with enough excitement to make this comic actually worth buying. And whilst the predominantly mechanical duo certainly do deliver an enjoyable mixture of banter and explosions as they’re chased by local law enforcement officers, the side-lining of this ongoing series’ titular character sadly still leaves something of a hole in the book’s storytelling.

Indeed, apart from providing artist Jethro Morales plenty of opportunities to pencil some truly disturbing physical horror – as the General’s body and brain are systematically swollen with isolated gamma pulses, the vast bulk of “Lab Rat” appears to be ‘treading water’ simply so enough time can pass for the aforementioned Luther Manning and X-51 to successfully reach Project Alpha undetected and attempt to rescue the Red Hulk. Admittedly, this publication does also contain an intriguing sub-thread in which First Sergeant Bowden discovers that Captain Simon Ryker is in direct contact with Doctor Victor Von Doom. But the supposedly loyal soldier, who just happens to have a cybernetic hand strong enough to tear open a safe room’s door, takes so little convincing to break into her superior officer’s secret room that her change in allegiance disappointingly smacks of just being an unconvincing contrivance.

Much more successful is Machine Man’s ability to out-think his pursuers, as opposed to just blasting them to pieces with all manner of automatic weapons – which is precisely what his ‘partner-in-crime’ Deathlok wants to do. The two super-powered refugees make a surprisingly good team, and the fact that it’s their sudden confrontation with a pack of killer Sharkmen deep inside a nuclear reactor’s water-filled pipeline which ends the comic as its cliff-hanger, rather than anything happening to Thunderbolt, says a lot for the odd couple’s ‘audience pull’.

Frustratingly, Morales’ layouts also don’t land as well as they could (or perhaps should). There is no doubt that the illustrator proficiently provides this book with plenty of eye-catching sketches. However, Jethro’s style does imbue the likes of Thaddeus’ mistreatment by Ryker with a perturbingly cartoony look which detrimentally impacts upon the grisliness of the sequences.

The regular cover art of "RED HULK" #7 by Geoff Shaw & Marte Gracia

Astonishing Tales #30 - Marvel Comics

ASTONISHING TALES No. 30, June 1975

Having impatiently waited four months for Deathlok the Demolisher’s most recent cliff-hanger to be resolved, thanks to its publisher deciding to reprint the Guardians of the Galaxy’s first appearance from Issue Eighteen of “Marvel Super-Heroes” in the bi-monthly’s preceding instalment, readers were probably rather disappointed by this comic's choppy collaboration of various writers and artists when it finally hit the spinner-racks. In fact, despite such a sizeable chunk of time passing before Luther Manning’s cybernetic return, the poor quality of both its script and layouts clearly shows just how badly illustrator-turned-author Rich Buckler struggled with the book’s latest deadline, and was eventually forced to turn to Doug Moench, as well as pencillers Keith Pollard and Arvell Jones, to finish most of the book's eighteen-page plot.

Disappointingly, this dire situation undoubtedly leaves its mark on “The Soft Parade… Of Slow, Sliding Death” with little of the action concerning the reanimated U.S. Army veteran arguably making much sense whatsoever – including the tragic death of Linc Shane who appears to have been thrown into the publication simply so the character could die pointlessly; “He stood up to Ryker’s goons on his own -- all alone… And for what?!” In addition, the comic’s conclusion probably had a fair few bibliophiles shaking their heads in disbelief, as the synthetic killing machine somehow manages to construct a giant crossbow out of disused car parts, and then somehow uses it to fire a metal beam straight into the super-tank which up until this point had seemingly appeared impervious to any and all firearms.

So unconvincing a tale sadly also extends as far as poor Mike Travers sub-story too, with Manning’s “ex-war buddy” apparently being able to simply re-programme the computer keeping him captive using a “sophisticated input card” he crafted inside his cell. Such ingenuity is clearly admirable. But just doesn’t ring true, especially considering that the man’s successful escape attempt is actually monitored by Simon Ryker’s artificial intelligence all along – and it does absolutely nothing to thwart his actions apart from pathetically plea to its pre-occupied creator for further instructions.

Easily this comic’s biggest let down though has to the book’s artwork, which perhaps understandably appears disagreeably inconsistent. The panels Buckler himself appears to have completed are dynamic enough. However, whilst both Pollard and Jones can clearly sketch an action sequence, the “traditional rendering style” of inker Al McWilliams jars quite a bit with some of the other sequences, and resultantly repeatedly takes the audience right out of the story as they have to acclimatise their eyes to his thin-lined embellishments.

Plot, Layout & Script: Rich Butler, Script: Doug Moench, and Art: Rich Butler, Keith Pollard & Arvell Jones

The Incredible Hulk [2023] #27 - Marvel Comics

THE INCREDIBLE HULK No. 27, September 2025

Starting with a seriously sedentary opening which features Bruce Banner’s alter-ego disconcertingly dozing under a woodland tree whilst a young boy noisily plays with a self-made wooden sword at his feet, many a bibliophile probably couldn’t be blamed for wondering what on Earth writer Phillip Kennedy Johnson was thinking when he penned this comic’s somewhat ponderous narrative. Sure, the happy-go-lucky youngster’s father is almost immediately shown to have something of a short-fused temper. But there’s absolutely no suggestion of the genuinely shocking tragedy which has actually already befallen poor Petey when he’s subsequently shown skipping back towards his home; “Daddy builds stuff. But sometimes he gets angry, and we gotta leave again.”

Instead, the American author just slowly starts to add layers to the dynamics of the kid’s dysfunctional, ever-erratic life on board a travelling bus, and the increasingly worrying criminal lifestyle of Henry Lang – who evidently enjoys dealing in stolen goods after work. In addition, the titular character himself is shown as having some serious self-doubts as to whether he truly wants to be left alone after all, and actually appears to be slowly warming up to the notion that perhaps instead of being a monster, the Hulk could become a force for good once again. 

Shockingly though, this dream of redemption is suddenly brought crashing down around the founding Avenger’s ears when he overhears Petey’s dad telling his wife they have to leave Tennessee immediately following a gun-fight with the local Police. Initially, this scene suggests that the boy will simply be left behind to his fate in the forest. However, it soon becomes crystal clear that things are far more sinister than mere abandonment, and that partially buried under “the Falling-Down Tree” is a dark secret infinitely worse than any creature from the kid’s vivid imagination.

Sadly what isn’t as successful as this book’s cataclysmic conclusion is debatably its drawing, with Kev Walker’s pencils proving rather disappointing when it comes to the look of this ongoing series’ titular character. The British illustrator does a first-rate job in depicting the disagreeable violence Henry is willing to subject his poor, ever-loyal spouse to, and resultantly should make the fellow utterly despicable in the eyes of this publication’s audience. Yet the artist's sketches of a long-haired, chisel-chinned Hulk is perplexing at best, and simply doesn’t portray the heavily-conflicted brute all that well – at least until the gamma mutate decides to take revenge upon poor Petey’s unrepentant murderer.

The regular cover art of "THE INCREDIBLE HULK" #27 by Nic Klein

Bring On The Bad Guys: Abomination #1 - Marvel Comics

BRING ON THE BAD GUYS: ABOMINATION No. 1, September 2025

Forming part of its New York City-based publisher’s special event to celebrate fifty years since “Marvel Comics” first released it original collection of “key early stories” featuring some of their most iconic super-villains, Phillip Kennedy Johnston’s script for Issue One of “Bring On The Bad Guys: Abomination” certainly seems to depict Emil Blonsky’s grotesque alter-ego in a highly entertaining light. In fact, rather than try to turn Stan Lee’s co-creation into some kind of anti-hero who ultimately risks all to save a group of hapless archaeology students, this particular publication instead debatably doubles-down on the gamma mutate’s more murderous inclinations.

Furthermore, the American author does an excellent job in underscoring the scaly-skinned former spy’s often ignored mental savvy by imbuing him with plenty of brains as well as brawn. This scheming intelligence genuinely pulls the entire narrative together from beginning to end - especially once it’s been revealed just how many favours the Yugoslavian-born monster has ‘cashed in’ so as to specially “get that [ancient] well dug up”, and have the highly out-of-place analyst Mokinyo specifically put in charge of his probationary mission to explore its deadly depths. 

Of course, the big draw for this twenty-page book's audience is Blonsky’s pulse-pounding battle against “the mighty Grootslang” in a water-logged underground cavern, and frankly the Eisner-nominated writer definitely does not disappoint. Freed from his Wakandan prison cell, this incarnation of the Abomination is as much of a cold-blooded a killer as he ever was, and absolutely annihilates his opponent without any mercy whatsoever. In addition, the two-toed terror doesn’t even momentarily pause in his tracks to rescue the surviving excavators either, and simply leaves them to die of starvation beneath the surface along with the bones of the supernatural being he’s just pulverised; “If you wanted lives saved and kids tucked in, you could’ve brought back your exiled king.”

Also helping enormously to make this comic such a sense-shattering success are penciler Sergio Davila, inker Aure Jimenez and colorist Arif Prianto. Together this creative team genuinely bring the entire story to vivid, animated life – whether it be the excited irritation of the poor professor who first encounters the well a little way “outside our permit zone”, or the sincere, cold-blooded clarity of Emil’s thinking when it comes to simply killing someone with his bare hands just because it's part of his job.

The regular cover art of "BRING ON THE BAD GUYS: ABOMINATION" #1 by Lee Bermejo

The Thing [2025] #3 - Marvel Comics

THE THING No. 3, September 2025

Simply pairing sweet Aunt Petunia's favourite nephew up with a little girl for the vast majority of a twenty-page publication packed full of gun-happy triggermen and super-powered villains might have struck some within this comic’s audience as an odd choice for Tony Fleecs; especially when Ben Grimm has so many notable New York City-based allies with which he can ordinarily turn to in times of trouble. But in doing so, the author rather surprisingly generates a palpable sense of danger throughout this narrative, which genuinely should make most readers uneasy as to whether the faint-hearted adolescent is actually going to survive the book intact.

Indeed, just as soon as Mary’s niece makes a shocking appearance amidst the burning ruins of a dockland warehouse, it arguably seems almost certain that a stray bullet from one of Hammerhead’s goons, or a projectile thrown by the deadly Bullseye, may well end her young life before this mini-series’ titular character has had the chance to rescue her. Such a concern really does stick to the storytelling throughout too, and even increases once the vicious gangster’s threat has been replaced by that of the crowbar-wielding Dirk Garthwaite and his murderous Wrecking Crew; “You four are about to find out that it’s a bad idea to pick on little kids when I’m around.”

Adding to this growing sense of Grimm’s inability to protect the understandably distressed child is Fleecs’ knack to also imbue one of the founding members of the Fantastic Four with his own physical vulnerabilities – such as being completely exhausted from not having slept in days. This fragility is debatably seldom shown in one of the Marvel Universe’s most popular power-houses, and helps highlight that despite all the slugger’s extraordinary strength, he is in reality just one man fighting off a veritable army of criminals – all of which desperately want to claim the ten million dollar bounty on his head.

Sadly, what does slightly let this comic down though is some of Justin Mason’s pencilling, which every now and then depicts the Thing as being disconcertingly smooth and circular in appearance. Obviously such a drawing technique is well-known to help artists work out the composition of their panels, and the location of any figures within it. However, the illustrator seems to incorporate this technique into his actual finished work, and resultantly presents Ben as an unnervingly fluid, ball-headed bruiser, as opposed to his much more irregular, chitinous-covered appearance.

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

Astonishing Tales #28 - Marvel Comics

ASTONISHING TALES No. 28, February 1975

Despite this comic’s narrative lacking a bit of direction as its central character aimlessly meanders through a post-apocalypse New York City, many a Marvelite probably still enjoyed Issue Twenty Eight of “Astonishing Tales” due to its disconcertingly dark, cannibal-infested view of life in a futuristic Big Apple. Indeed, arguably this book’s biggest hook is how Rich Buckler pens Deathlok realising just how markedly different the noxious metropolis has become from the restaurant-packed place he used to regularly visit with his wife Janice five years earlier.

This stark contrast between the life Luther Manning vividly remembers and what the world has since become is perhaps best seen during the cyborg’s visit to the library/museum on 42nd Street, whilst investigating a black market meat operation. The trip itself later leads into the discovery that there is actually an armed rebellion taking place against the murderous machinations of Simon Ryker’s regime. But initially it presents itself as simply an adrenalin-fuelled spotlight upon the grisly day-to-day dealings of the vicinity’s disagreeable inhabitants, who appear to be perfectly happy to tear the Demolisher apart just to get at the veteran soldier’s few remaining scraps of human flesh; “They’re looking at me like I’m the morning menu!!”

Unhappily however, much of this well-written, engrossing atmosphere is then somewhat dispelled by the sudden arrival of a battle tank and a cluster of “creeps… packing lasers with heat conversion units.” This shocking plot-twist comes completely out of the blue, and despite the author’s attempt to suggest the aforementioned head-hunters were merely a pre-planned ruse to lead Deathlok straight towards the tightly-knit military force, disappointingly still debatably smacks of Buckler merely scrambling around in desperation for some big threat to throw at his co-creation.

Fortunately, due to the sense-shattering shenanigans which result from the armoured vehicle’s appearance, such an unconvincing element can probably be easily forgiven – especially when for once, the action actually shows Manning being heavily outmatched when it comes to firepower. In fact, a palpable sense of danger emanates from these prodigiously pencilled layouts as Luther’s helicopter is sketched tragically being destroyed, and the “born loser” finds himself cornered by the killer tank without any discernible means of escape.

Concept, Script & Artwork: Rich Butler, and Coloring: L. Lessmann

Astonishing Tales #27 - Marvel Comics

ASTONISHING TALES No. 27, December 1974

Essentially comprising of a shootout-turned punch-up between Deathlok and the War-Wolf, Doug Moench’s plot for issue Twenty Seven of “Astonishing Tales” probably did have many of its readers grimly ‘hanging on to their medals’ for their lives. Sure, the eighteen-page narrative may well have proved a little repetitive for some bibliophiles due to Luther Manning repeatedly questioning whether he can actually kill his former military buddy. But Major Simon Ryker’s ill-advised admission that Mike Travers “died on the operating table” before the ferocious fight even began soon puts an end to the cyborg’s self-doubts.

In addition, the script does a good job of showing just how close the two men must have been before their moustache-sporting arch-nemesis created Project Alpha Mech, and even alludes to the Demolisher being friends with his comrade-in-arms’ father too. These flashbacks genuinely help imbue the central protagonist with plenty of palpable emotion, especially once he realises he has been played for a fool, and decides to end the heavily-fanged monstrosity before him, rather than allow it to tear his own mechanical workings to pieces; “You just told me the one thing that would make me wanna fight back!”

Unfortunately though, both the occasional bit of backstory and multiple speeches reverberating inside Deathlok’s head, does cause the storytelling to be a bit confusing and confoundingly chaotic from time to time. Indeed, Manning’s revelation that the “other voice in my head” has gone two-thirds of the way through the comic, most likely pleased a fair few bibliophiles too, as it instantly results in them being able to simply focus upon the highly entertaining banter between Luther and his computer, rather than being savagely swamped with numerous, heavily worded dialogue boxes filled full of flowery rhetoric.

Understandably with such an action-packed publication, much of this book’s success also relies upon the layouts of Rich Buckler and Pablo Maros’ inks. Together the creative pair do a first-rate job in making a physically, and psychologically drained Demolisher appear to be at death’s door by its end. In fact, the cyborg is prodigiously pencilled taking so much damage and mental abuse, that at one point his visibly shaking frame appears to be about to quite literally expire at the feet of his beloved (ex)wife Janice.

Art/Story: Rich Butler, Inks: Pablo Maros, and Co-plot: Doug Moench

Astonishing Tales #26 - Marvel Comics

ASTONISHING TALES No. 26, October 1974

Despite Doug Moench’s utterly disconcerting decision to hurl his audience up and down Deathlok’s timestream to the point where some bibliophiles will struggle to know whether what they’re reading is set in Luther Manning’s past or present, Issue Twenty Six of “Astonishing Tales” still must have landed rather well with those “True Believers” who weathered this storm upon their senses. In fact, the seventeen-page plot is so prodigiously crammed full of adrenalin-fuelled gun-fights, savage shows of cyborg super-strength, as well as an insane roof-top battle against a horde of cannibals, that in many ways it could be argued as being pretty much perfect; “Final assailant aligned with meat-hook rail.”

Much of this success is entirely due to some wonderfully dramatic set-pieces in which the almost completely rebuilt Colonel battles an apparently unending army of United States agents, who are seemingly hell bent on bringing Simon Ryker’s ‘creation’ to his knees. These utterly engaging confrontations range in location from a rancid meat factory all the way to the Tower of Liberty’s foot-pedestal, and really go to great lengths in order to show just how formidable a killing machine the covertly-crafted super-soldier can be – even when facing seemingly insurmountable numbers and weapons fire.

In addition to this comic’s pulse-pounding pugilism and pace though, the American author is also very good at penning some entertaining dialogue between the central protagonist and his chest-mounted computer. Coupled with Deathlok’s evident loyalty to his former army buddy Mike Travers, these conversations go a long way to showing the Demolisher is far from being a generic two-dimensional assassin, but rather a human being who still cares for those who risked their lives alongside him during the war.

Equally adding an enormous amount of vitality to this book are Rich Buckler’s layouts, which genuinely help sell the notion of a walking/talking cyborg brutalising so many ‘enemy’ operatives without so much as a scratch – or at least just a “bum knee.” Furthermore, the artist does a first-rate job of showing just how many pent-up emotions Manning is going through in his search for his old battle buddy, and how desperate he is to see a friendly face after Ryker’s evident betrayal of everything the “Death Machine for Hire” stands for.

Art/Concept/Plot: Rich Butler, Script/Plot: Doug Moench, and Inks: Pablo Marcos

Red Hulk #6 - Marvel Comics

RED HULK No. 6, September 2025

Having previously penned a five-issue piece depicting the titular character escaping a heavily-fortified prison in the mountains of Latveria, many a reader probably thought Benjamin Percy may well be in danger of re-treading old ground by sticking General Ross straight into a military-run, top secret gamma-research facility for his next storyline. Indeed, one of this comic’s opening scenes featuring the Red Hulk impotently bashing away at his cell’s impregnable walls must surely have given the odd bibliophile a disconcerting sense of déjà vu; “Rage doesn’t feel like an adequate description. Because it’s mixed up with a sense of betrayal and disgust, and even defeat.”

Happily however, whilst much of Thunderbolt’s experiences “twenty klicks from Langley” arguably do feel unnervingly familiar, the exploits of Deathlok most certainly don’t as the cyborg attempts to audaciously rescue Machine Man from the Department of Defence’s Waste Disposal centre. This somewhat brutal, quickly botched covert infiltration mission is easily the highlight of this book’s twenty-page plot, as it cleverly provides Luther Manning (as well as his computer-chipped brain) a chance to inject an already palpably tense sequence of the Demolisher desperately searching through numerous rubbish piles, with some much appreciated subtle humour.

In fact, much of this publication’s success debatably rests upon the relationship between the time-travelling assassin and Jack Kirby’s living robot X-51, rather than anything penned for Ross, with the pair’s evident growing friendship proving as enthralling as their sentiments for one another are touching. Furthermore, with an emaciated and powerless General being largely confined to sedentarily walking along the corridors of his prison with First Sergeant Tamika Bowden, the mechanical duo are this comic’s sole source of any adrenalin-fuelled action.

Possibly just as perturbed by this book’s largely uninspiring central narrative is Geoff Shaw, whose layouts featuring the alleged American “war criminal” appear a little uneventful once his Red Hulk persona has worn itself out senselessly battering unmoving bricks. Admittedly, it must be hard to repeatedly pencil the same figures striding down a featureless corridor for too long. But the dynamism seen in the artist’s drawings of Deathlok and Machine Man’s aforementioned antics probably makes those illustrating Thunderbolt’s uneventful journey down to Captain Ryker’s laboratory even more monotonous to the eye.

The regular cover art of "RED HULK" #6 by Geoff Shaw & Marte Gracia