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 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

DC Vs. Vampires: World War V #11 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 11, September 2025

Featuring plenty of perilous partnerships and treacherous double-dealings, as well as some seriously hazardous treks across the Earth’s most inhospitable landscapes, many readers perusing Issue Eleven of “DC Vs Vampires: World War V” were probably exhausted once Matthew Rosenberg’s twenty-four page plot concluded. In fact, by the time a visibly emotional Alfred Pennyworth shockingly sacrifices the highly unreliable Robin to save Humanity’s last chance of a treaty with the surviving super-powered blood-drinkers, quite a few bibliophiles will doubtless genuinely feel as if they’ve been physically battling the New Gods and Darkseid themselves.

Much of this palpable fatigue is arguably created by the publication’s sheer pulse-pounding pace, which doesn’t seem to let up even after the likes of Lois Lane, Steel and the Atom have safely been brought to the Spectre’s secret hideout. Initially, this particular moment of respite appears to be about to get boringly bogged down in exposition as to just how the “tyrannical ruler of the planet Apokolips” can be defeated. However, due to the American author’s use of the utterly zany Harley Quinn, the actual explanation of Nightwing's "great alien-killing machine" is surprisingly delivered rather energetically; “What kind of doctor is she?”

Similarly as entertaining though is Wonder Woman’s escape from the New Gods’ clutches, after cold-bloodedly decapitating the unwisely over-confident Mistress Gilotina in a trial by combat. It’s crystal clear that this mini-series’ heroes would be very wise not to trust the demonic vampire who now claims the crown over all other Nosferatu. But dead Diana’s transformation from a badly beaten plaything of Darkseid back to an arrogant exterminator is quite wonderfully penned, and makes Black Canary’s agreement to work alongside her all the more dangerous for mankind.

Just as successful as this comic’s largely dialogue-driven writing is Otto Schmidt’s pencilling, which appears to go to great lengths to show the audience just how utterly exhausted (and emaciated) any person still alive is. Of particular note is the artist’s tremendous work sketching the sizeable cast’s myriad of faces – all of which show a vast range of emotions, feelings and reactions with just a few simple lines here and there. Furthermore, the Siberian illustrator does a cracking job in Wonder Woman’s aforementioned return to power, with just the Amazonian’s eye slits alone projecting the tremendous damage the mass-murderer could inflict upon any mortal if she was inclined to do so.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #11 by Otto Schmidt

Zatanna #1 - DC Comics

ZATANNA No. 1, April 2025

Deceptively carefree and tongue-in-cheek for most of its narrative, Issue One of “Zatanna” certainly does seem to live up to its writer’s promise that the titular character will “need all her wits and every spell she can muster in order to make it out the other side in one piece.” In fact, for much of Jamal Campbell’s twenty-page plot, the Mistress of Magic appears to be digging incredibly deep into her backlog of tricks so as to save the performer’s quite considerably-size stage crew from a multitude of grisly demises; “The Astral Plane. Things can get wonky here. I’m sending you back to the theatre.”

However, the sheer of sense of frivolity permeating the storytelling also means that many a reader will probably struggle to feel any sense of danger for the likes of Andre, Arnie or even the particularly vulnerable Adam. This lack of concern really does detrimentally impact any notion of suspense with each of the comic’s various set-pieces, particularly as the Princess of Prestidigitation additionally appears to always be slightly ahead of Lady White’s overly-dramatic attempts to dispatch her friends – whether it be via a truly elaborate dance routine on a large film set or a giant great white shark coming to life from inside a movie poster.

Intriguing though, much of this lack of jeopardy could also be seen as a way for the author to completely hoodwink his audience into believing the Sorceress Supreme is more than a match for this limited series’ main antagonist. Such a conviction is debatably not misplaced either. However, it will leave many onlookers totally unprepared for an astonishing display of treachery, which leaves a brutally transfixed Zatanna lying helplessly upon the ground and understandably gasping for every breath.

Perhaps it is therefore Campbell’s proficiency with his pencilling as opposed to the pen, which is this book’s biggest asset, thanks largely to the freelance illustrator’s signature style of “clean linework, natural colours, and subtle shading.” This publication’s layouts genuinely are a feast for the eyes, most notably when the adventure whisks its readers away to the realm of magic, and resultantly in some ways it is actually a disappointment that Jamal's carousel of single-panel rescues wasn’t expanded upon in order to allow the artist to show off even more of his flair for sketching an action-packed set-piece.

Writer and Artist: Jamal Campbell, and Letterer: Ariana Maher

Missing On The Moon #4 - Mad Cave Studios

MISSING ON THE MOON No. 4, April 2025

Seeming to forget several of this mini-series’ major plot-threads, most notably the fact that Daniel Schwinn was specifically called in by the lunar law enforcement agency to investigate the disappearance of poor Penny, Cory Crater’s narrative for Issue Four of “Missing On The Moon” must surely have left many a reader scratching their heads at its illogical conclusion. Indeed, the very notion that Osborne Scott would hire the private investigator to look into the case, even though the senior policeman was well aware of Senator Brooks’ satellite-wide drugs ring, as well as the numerous child abductions, makes very little sense; “I line their pockets, and they keep things hush hush.”

Similarly as disconcerting has to be the author’s revelation that this title’s storyline was triggered by the young school girl inconveniently ‘following her daddy to work’, and presumably discovering just how deep in the illegal narcotics industry the American politician was. Such a ghastly decision to end his own daughter’s life rather than trust her not to talk would potentially have given the elderly statesman a compelling backstory. But in this comic, the white-haired senator disappointingly just cold-heartedly writes the kid off as “a liability”, and even bemoans the fact that her corpse wasn’t disposed of correctly.

Perhaps this book’s biggest problem however, comes with the almost buddy-buddy relationship Schwinn suddenly develops with Alina. The gumshoe has just accidentally gunned down the terrorist’s long-lost brother, and recently been transformed by the woman into a blue-skinned Darksider with a toxic injection. Yet in this twenty-two page periodical’s plot, the pair work together like they’ve been best friends/partners for years, and almost effortlessly take down Brook’s massive “Stardust” empire with just a smattering of bullets.

What does work though is Damian Couceiro’s pulse-pounding pencils, which genuinely capture all the cynicism and grittiness of a harsh, unfair life, where the divide between the rich and poor could not be much greater. In addition, the aforementioned assault upon the Senator’s drug factory is incredibly well-sketched, with Patricio Delpeche’s colours causing the heat from its furnace to genuinely rise off the printed page, and Daniel’s dramatic death appearing suitably poignant for a man haunted by his own offspring’s tragic demise.

Writer: Cory Crater, Artist: Damian Couceiro, and Color Artist: Patricio Delpeche

Missing On The Moon #3 - Mad Cave Studios

MISSING ON THE MOON No. 3, March 2025

It’s probably a fairly safe bet that many of this mini-series’ readers were wondering just where Cory Crater’s narrative was going to go next, having read his somewhat rambling narrative for Issue Three of “Missing On The Moon”. True, the “emerging author in comics and graphic novels” certainly seems to be composing a rollercoaster of a ride for his audience when Daniel Schwinn suddenly discovers he’s been physically transformed into a blue-skinned Darksider at the start of this instalment. But by the end of the book’s twenty-two page storyline, many a bibliophile will doubtless be querying the persuasiveness of a plot which seems to make some disconcertingly large leaps in logic so as to progress its overarching storyline.

Foremost of these bemusements has to be Osborne Scott’s unconvincing role in all of this title’s political subterfuge, terrorist attacks and adolescent mass murders. The writer never explains how the overweight police commander somehow survived the deadly ambush deep inside the moon’s ice mines – nor indeed how the law enforcement agency was even attacked underground – Yet having managed to return to his offices alive, he then spends a significant portion of this publication blaming his former friend for betraying the authorities to Sidhe’s rebellion, even though he knows damn well that isn’t the case.

To make matters even more confusing though, it’s subsequently revealed that the huge droid Oz ordered to act as Schwinn’s bodyguard is actually the department’s perfidious mole, having somehow been reprogrammed by Alina at some unknown point to do her bidding. Such a revelation is certainly shocking. However, it arguably makes as much sense as Daniel’s uncharacteristic naivety in believing that if he gives the extremist’s Scott, they’ll somehow prove to the world that he wasn’t a traitor after all – even though in doing so he’ll become precisely the double-crosser he pathetically pleads he is not; “Do me this favour and I’ll get you whatever you and your cronies desire… access to L.D.S. weapons, intel… just name it.”

Far more convincing than this comic’s penmanship is its layouts by Damian Couceiro. Coupled with Patricio Delpeche’s sombre palette of colours, the illustrator’s pencilling is predominantly first-rate, with the horror of Schwinn’s conversion into a Darksider proving particularly palpable. Likewise, the artist’s handling of the pulse-pounding gunfight inside the Tankard Pub in Buzztown is truly exhilarating, with the rapidity of everyone’s weapon discharges almost leaping off of the printed panels.

Writer: Cory Crater, Artist: Damian Couceiro, and Color Artist: Patricio Delpeche

Solomon Kane: The Serpent Ring #4 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 4, August 2025

It should be pretty clear from this comic’s frantically-paced plot just why “Heroic Signatures” were so keen to have Patrick Zircher on board for a Solomon Kane mini-series. For whilst the book’s twenty-four page narrative is arguably a little far-fetched in allowing all the central protagonists to miraculously survive a cataclysmic cave-in, it does still predominantly read like one of Robert E. Howard’s original short-stories from the late writer’s days penning pieces for “Weird Tales”.

Furthermore, whilst the Seventeenth-Century Puritan is most definitely at the centre of the American author’s yarn, blinding a gigantic serpent with some well-aimed pistol shots just as Ulysses once did with the one-eyed giant Polyphemus, the various villains of the piece are actually defeated by their own greed and hubris rather than by some extraordinary, superhuman effort by the deeply devout Englishman. Indeed, the sombre-faced traveller is even willing to limit his vengeance upon Rolando Zarza De Aragon to a solid smack upon the jaw, rather than gun down the cut-throat who left him for dead, because he realises their mission will need every able-bodied adventurer to succeed.

Likewise, it contains a brief moment of redemption for the rogue Nico Cassani, who despite his evident ungentlemanly lust for Diamanta Bensaid, bravely sacrifices himself for the female scholar during the height of this comic’s climatic battle sequence. Admittedly, the rogue’s uncouth advances towards Abramo’s daughter have proved pretty repulsive in the past. But the ne'er-do-well’s unthinking willingness to place himself between the woman and a deadly, Serpent warrior’s spear-point certainly makes his painful death far more poignant than it would have if he had merely been unceremoniously slain during the savage bloodbath beneath Set’s huge underground statue; “The devils have killed me.” 

Just as enthralling as this publication’s composition though, has to be its layouts, with Zircher clearly bringing his ‘A game’ to the table. Of particular note, has to be the artist’s ability to bring life to Sha-Kabet’s pet snake, which slithers about the wilderness outside the Temple of Set with hair-raising conviction. Furthermore, there’s a palpable sense of desperation in Kane’s final assault upon the serpent deity’s followers, as fiery death quite literally rains down upon him and his friends, as well as his scale-covered enemies, due to the supposed anger of the long-dead Stygian god.

The regular cover art of "SOLOMON KANE: THE SERPENT RING" #4 by Jessica Fong

Missing On The Moon #2 - Mad Cave Studios

MISSING ON THE MOON No. 2, February 2025

Whilst Cory Crater’s narrative for Issue Two of “Missing On The Moon” quite surprisingly lacks much in the way of adrenaline-fuelled action, at least up until the American authorities descend upon the Soviet ice mines armed-to-the-teeth with assault rifles and bulky combat droids, it still somehow manages to race along at an exhilarating rate. In fact, many within this mini-series’ audience will be somewhat stunned as to just how quickly they come to this comic’s shell-shocking cliff-hanger; “But curiosity… It’s part of the trade. A box, once opened…may well be shut… but the contents therein cannot be unseen.”

Much of this twenty-two page magazine’s momentum is created by some seriously tense set-pieces, with Daniel Schwinn’s terrifying interrogation at the hands of the Darksiders’ leader revealing just how vulnerable the central character actually is on the oxygen-starved satellite. This particular scene also provides an excellent insight into all the built-up prejudices of the private investigator, as well as hints that he’s actually being used by the powers that be to protect a disconcertingly dark secret of theirs.

Likewise, this book does a great job in showing just how corrupt the American dream has clearly become on the moon, and that the portly, pony-tailed Oz is almost certainly up to his neck in it. The senior law enforcement officer clearly has great affection for his old friend, and genuinely appears eager to keep Schwinn safe. But once he realises that the detective has heard of Operation White Eye, there’s a distinct coldness in his cybernetic eye which suggests he knows far more about the lunar metropolis’ city-wide string of disappearing children than even Daniel can possibly imagine.

Considering just how much of this comic’s content is driven by packed word balloons and dialogue-heavy discussions, a lot of thanks for it’s pulse-pounding pace must also be given to Damian Couceiro’s layouts, which somehow manage to make all the talk flow at a tenacious tempo. Of particular note has to be the aforementioned clash between Sidhe and her dishevelled prisoner as she mercilessly injects his neck with a syringe of blue-coloured goop. However, the illustrator is also very good at showing the contrast between Buzztown’s absolutely bristling Lunar Defence Services building before Oz is informed of the Darksiders’ secret whereabouts, as well as its eerily empty offices once he does know and departs with his staff to bring the 'rebellion' to a bloody end.

Writer: Cory Crater, Artist: Damian Couceiro, and Color Artist: Patricio Delpeche

The Batman And Scooby-Doo Mysteries [2024] #12 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 12, February 2025

Despite pretty much telegraphing just who is behind the haunting of Gotham City Opera House within its first few pages, as well as quickly establishing that the villain-of-the-piece isn’t really Andrea Beaumont’s much-hyped alter-ego after all, Joseph Torres’ script for Issue Twelve of “The Batman And Scooby-Doo Mysteries” does still contain a pretty good yarn which rather nicely captures much of the flavour of Hanna-Barbera Productions’ animated cartoon stories. In fact, this comic’s twenty-page plot arguably contains all the elements necessary to have made it a memorable televised episode – should its storyline have been submitted to the American production company during the early Seventies.

For openers, the book ensures that all of its fairly large-sized cast contributes to its narrative without resorting to unconvincing contrivances or lacklustre silliness. True, Shaggy Rogers and Scooby-Doo (once again) become the focus of fun when they hungrily scour the building’s concessions stand for popcorn and inadvertently stumble across the fake Phantasm’s hiding place. But this endearingly whimsical set-piece is entirely in keeping with the characters’ usual buffoonery, and actually sets up an intriguing conundrum as to which members of Mystery Incorporated are actually confronting the ‘real’ ghost.

Likewise, there’s some good banter to be had between the Dark Knight and Velma Dinkley, as the pair partner up to ascertain just how the Caped Crusader simply swung straight through their grey-hued foe whilst the villain was stood on the main stage. Of particular note is the sheer joy expressed by the sweater-wearing sceptic as Batman propels them both up to an overhead catwalk using his grapple gun, and the “brains of the group” politely asking the super-hero for permission to proudly proclaim her theory as to who “the person behind the mask” is. 

By far this publication’s biggest strength though arguably lies in the crisp layouts of Dario Brizuela, whose pencilling absolutely nails the likenesses of both the Caped Crusader and Fred Jones’ teenage gang of amateur sleuths. Perfectly coloured by Franco Riesco, the almost suffocating shadows cast by the theatre’s ghost light also add to this yarn’s claustrophobic atmosphere, and helps add an extra element of conviction to the protagonists' surprise whenever they spy the Phantasm lurking in the dimly-lit darkness.

Written by: J. Torres, Drawn by: Dario Brizuela, and Colored by: Franco Riesco

Missing On The Moon #1 - Mad Cave Studios

MISSING ON THE MOON No. 1, December 2024

Rather intriguingly feeling like a much more low-tech version of Ridley Scott’s dystopian future as seen in his 1982 science fiction movie “Blade Runner”, Cory Crater’s superb penmanship should certainly have held his audience’s attention throughout this twenty-one page periodical’s thought-provoking plot. Indeed, straight from the comic’s start it seems pretty clear that “washed-up private investigator Daniel Schwinn” is entering a serious world of pain when he accepts the task of discovering just what has happened to a billionaire’s missing daughter.

Furthermore, the well-paced storyline is also quite quick in establishing that anyone around the expletive-happy sleuth is also stepping straight into some cold-blooded killer’s firing line, and not even a huge, ruggedly constructed moon truck is large enough to protect its evidently prying occupants from almost being sent straight into orbit by a well-paced improvised explosive device; “Turns out these weren’t highwaymen. They were saboteurs. Professionals, politically motivated.” This palpable sense of danger genuinely adds to an already gripping atmosphere, and should cause many a bibliophile to hungrily ‘gobble up’ this publication’s series of thrilling set-pieces in their eagerness to establish just who is next on the Darksiders’ hit list.

Similarly as successful as Luna’s savagely barbaric community, has to be the screenwriter’s thought-provoking insights into the central protagonist himself. Schwinn is seemingly no pure-hearted angel. But a man perfectly capable of poisoning a drug addict with a score which has been “cut with rodenticide”, and apparently has little interest in rescuing poor Penny until the powers that be agree to pay him “double my ordinary rate”. These all-too evident flaws hint at a truly troubling past for the grubby-looking investigator, and strongly suggest whatever morals Daniel may have once had, cost him more than he can bear.

Lastly, illustrator Damian Couceiro, along with color artist Patricio Delpeche, prodigiously provide this comic with some strikingly sound visuals. Of particular note has to be the creative pair’s handling of Holloway’s last trip outside to the place where the moonraker “found the ballet flat.” This excursion onto the satellite's surface is actually incredibly word-heavy, thanks to the gumshoe’s repeated questioning of the circumstances surrounding the bizarre find. Yet, the various angles used to depict the conversation makes the discussion bound along at a healthy pace, before events turn particularly sour with a mighty explosion.

Writer: Cory Crater, Artist: Damian Couceiro, and Color Artist: Patricio Delpeche

The Batman And Scooby-Doo Mysteries [2024] #11 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 11, January 2025

Utterly devoid of Batman – apart from one line explaining that he’s up “in space with the Justice League”, Sholly Fisch’s somewhat sedentary script for “Booked Up” rather surprisingly relies upon the tongue-in-cheek tomfoolery of Shaggy Rogers and Scooby-Doo to provide its readers with any notion of pulse-pounding action. Indeed, the American author even pens the pair supposedly running for their very lives from a harmless novel at the comic’s start – simply so something of moderate interest happens during the twenty-page periodical’s opening quarter; “Are you really still running away from a book?”

Happily however, things do become a little more interesting once Grotesque’s henchmen are (far too) easily apprehended, and Barbara Gordon is able to demonstrate a few of the computer-based skills she has honed as Oracle. Admittedly, the crime-fighter’s ability to just link into the Bat Cave’s computer with her mobile phone may well make many of her deductions a little too conveniently fast for some readers. But these quick-fire revelations as to the criminal behind Gotham City Library’s latest haunting at least provides an otherwise listless yarn with a bit of much needed pace.

Sadly though, once Batgirl’s nemesis is revealed the publication’s already apathetic plot appears to go right out of the window, with Phillipe Rianne’s obsession for “fancy things” degenerating into a need for a mystery writer’s original manuscript simply so the mask-wearing criminal mastermind has “something to read in bed tonight.” This motivation debatably dumbs down an already rather mediocre-calibre thief, and is as convincing as Gordon’s feeble attempt to fool her father into thinking she’s just a humble librarian, despite single-handedly battering her electricity-powered enemy into unconscious with a mere wooden chair.

Somewhat more substantial than this comic’s narrative are David Antón Gomis’ layouts, which at least attempt to imbue Shaggy and Scooby-Doo’s escapades with a bit of dynamism. The illustrator does a fairly good job of bringing this comic’s quite considerably-sized cast to life, especially when it comes to Jim Gordon’s steadfastness in the face of deadly danger. Yet, the artist’s rather strange decision not to pencil any motion lines in his panels, even upon the numerous members of the public racing out of the library in sheer terror, makes many a set-piece appear strangely lethargic and unrealistically languid – as if the figures were somehow running on the spot, rather than moving across the location.

Written by: Sholly Fisch, Drawn by: Puste, and Colored by: Carrie Strachan

The Thing [2025] #2 - Marvel Comics

THE THING No. 2, August 2025

Whilst on paper a street-level scrap between a certain super-strong “idol of millions” and “the world’s deadliest assassin” might not appear all that appealing to many readers – on account of Benjamin Grimm’s unbreakable skin being imperious to even the most deadly of throwing stars, Tony Fleecs still arguably manages to make the potentially one-sided skirmish work inside Issue Two of “The Thing”. Sure, the author ‘magically’ imbues Bullseye with the sort of super-strength needed to stand toe-to-toe with the Fantastic Four’s founding member. But this contrivance doesn’t surprisingly prove all that integral to the enthralling flow of the fight. 

Indeed, much of the entertainment to be gained from this quite lengthy confrontation is due to the writer permeating the punch-up with plenty of tongue-in-cheek moments, such as when Lester catches Grimm in the mouth with a razor blade and causes the former “scrawny kid from Yancy Street” to momentarily babble incomprehensively due to the minor injury. Furthermore, despite the final result never really being in any doubt, the possibility of Daredevil’s arch-nemesis identifying the crime boss he is working for persistently hangs in the balance, and thus keeps the audience interested in the struggle’s ultimate outcome; “That guy was taking orders. He’s somebody’s guy…”

Fleecs also seems to do a good job in highlighting Ben’s savviness when it comes to him investigating the disappearance of Marty’s niece. Many other writers may well have simply penned the titular character mindlessly smacking his way through countless minions, hit men and super-villains before simply rescuing the young girl. However, in this mini-series, the “ever-lovin' blue-eyed Thing" is shown rather impressively utilising his experience, local knowledge and fame to track the kidnappers down to “some shady waterfront warehouses”.

Possibly the only element to this twenty-page periodical which therefore does slightly let the storytelling down is some of Justin Mason’s artwork. The illustrator is clearly able to proficiently pencil the vast majority of this comic’s sense-shattering shenanigans. Yet every now and then also appears to have rushed sketching a figure, such as some stiff-looking panels of an arrogant Bullseye stood high atop a street sign-post, or a possibly overworked splash of Hammerhead, which somewhat strangely appears as if it was a much smaller picture which has subsequently been ‘blown up’ so as to help fill out the book.

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

DC Vs. Vampires: World War V #10 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 10, August 2025

Largely focused upon the exploits of Mister Miracle, as Jack Kirby’s creation ponders whether to surrender himself to Darkseid or not, there’s an almost palpable feeling to this twenty four-page periodical’s plot that Matthew Rosenberg’s mini-series is (finally) approaching its cataclysmic conclusion. Indeed, just the physical presence of Scott Free appears to be enough to bring several of the title’s overarching storylines together – including the up-until-now entirely separate sub-thread of Batman and Green Lantern banding together so as to summon the likes of Constantine and Doctor Fate back from beyond the grave.

Furthermore, Issue Ten of “DC Vs Vampires: World War V” also impressively shows a genuine war weariness to all its considerable cast, both mortal and blood-drinker, with many a character now apparently willing to do just about anything to convince “the tyrannical ruler of the planet Apokolips” to leave the Earth once and for all. This utter exhaustion is particularly startling when seen in the behaviour of Supergirl and Lois Lane, who have both fought tooth and nail to see themselves and their compatriots survive. But are now shown unhappily ‘bending the knee’ in supplication before the super-villain; “I don’t want to either. But it’s a small price to pay, Lois. We can end this here.” 

By far this book’s best moment though actually comes completely left field with the New Gods shockingly switching sides and ambushing Gorilla Grodd’s combined army. Such treachery is as sudden as it is astounding, and should actually make many a reader rather cross at the hypocrisy of a gutless Orion – who infuriatingly even tries to justify his duplicity by claiming an alliance with his mass-murdering father is supposedly in the galaxy’s best interests.

Clearly revelling in all this disheartening deceit and fatigue is Otto Schmidt, whose prodigious pencilling does a first-rate job in depicting the lethargy slowly infecting the planet’s fast-dwindling population. Of particular note has to be the freelance illustrator’s magnificent portrayal of poor, physically depleted Black Alice, whose haunted eyes alone convey all sorts of terrifying tales in the mind’s eye. In addition, the sheer outrage splashed across Kara-El’s face when she realises her cause has been betrayed by her latest allies is absolutely palpable, and it’s easy to see why even the vampire’s most ferocious fighters fear the Kryptonian.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #10 by Otto Schmidt

The Batman And Scooby-Doo Mysteries [2024] #10 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 10, December 2024

On paper there’s a good deal of merit behind this comic’s basic premise that Harley Quinn would so want the Joker to own a car which can compete with the Batmobile that she’d start stealing motor parts to build one. But disappointingly, Amanda Deibert’s penmanship simply doesn’t do such a storyline justice, with the “New York Times bestselling” television writer peppering the promising plot with a rather disagreeable incarnation of Shaggy Rogers, some unconvincingly inconsistent secondary characters, and a blatant dig towards men for repeatedly underestimating the “massive intelligence” of women.

In addition, the author debatably handles Batman in an infuriatingly illogical manner by portraying the Dark Knight as being far too busy investigating “a string of robberies” to assist Mystery Incorporated for much of this comic. Of course, such a stance would make perfect sense if the Caped Crusader was attempting to thwart a Gotham City wide crime spree by the likes of the Penguin or Clayface. However, on this occasion he’s dealing with stolen antique car parts, and doesn’t apparently spot the coincidence that Fred Jones’ van was sabotaged so as to force the meddling kids to seek the assistance of “a [auto] repair shop down the road.”

Perhaps this twenty-page periodical’s biggest let down though can be found in the motivation behind the mysterious Geraldine. This so-called Ghost Car has apparently been terrorising the locals for some weeks. Yet it’s eventually revealed to regrettably just be the sentient motor vehicle Quinn has been building as a birthday present for “Mistah J!” Just why Harley would draw such attention to her criminal operation by letting the vehicle repeatedly attempt to murder people is a bit bewildering, as is Quinzel's willingness to upgrade the Mystery Machine in order for the van to dramatically outmanoeuvre her own homicidal handiwork.

Possibly a little more acceptable than this book’s narrative is its layouts (and colours) by Erich Owen. The Ringo Award-winner does a fair job in capturing the television likenesses of Mystery Incorporated, and certainly seems to excel when sketching the fast-paced car chases required for Deibert’s script. Nonetheless, the artist appears to struggle when capturing Batman’s cowled visage, giving the masked vigilante’s a rather comical, quirky-looking jawline.

Written by: Amanda Deibert, Drawn & Coloured by: Erich Owen, and Lettered by: Saida Temofonte

The Thing [2025] #1 - Marvel Comics

THE THING No. 1, July 2025

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

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

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

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

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

The Batman And Scooby-Doo Mysteries [2024] #9 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 9, November 2024

Taking the rather brave decision to relegate the Dark Knight to the side-lines for the entirety of this twenty-page periodical’s plot, Matthew Cody’s narrative for Issue Nine of “The Batman And Scooby-Doo Mysteries” probably still managed to entertain a fair few of its audience, courtesy of a quite endearing appearance by the laughable lawbreaker Kite-Man. Indeed, for those Bat-fans able to take this comic’s silly storyline with a pinch of salt, there’s arguably a fair few laughs to be found within its phenomenally pencilled panels; “Look, I’m a very dangerous villain.”

For starters, “the acclaimed children’s author” pens a wonderful scene featuring the original Caped Crusaders appearing at Gotham City Comic-Con, and being surrounded by all manner of book nerds and cosplayers. Sadly short-lived, this set-piece should genuinely bring a smile to the face of any collector who has stood in line waiting for a guest celebrity to sign some piece of memorabilia for them, whilst simultaneously making them smirk at Batman’s evident discomfort when he’s pressured into saying the line “I am the night” out loud for the attendees.

Similarly as engaging though is also the Missouri-born writer’s handling of Chuck Brown’s flamboyantly inept alter-ego, who rather conveniently converts from committing felonies to thwarting them within the space of this publication. Obviously, so major a reversal in personality in so short a space of time isn’t terribly convincing. But it’s arguably nice to believe that just being in the company of well-meaning “losers” Shaggy Rogers and Scooby-Doo is enough to make the likeable rogue realise that he should be proud of his association with kites, rather than see it as an apparently necessary gimmick with which to commit crime.

Ultimately however, much of this comic’s success relies upon the gobsmackingly good layouts by Dario Brizuela. Sensationally shaded by colorist Franco Riesco, to the point where some scenes appear to have been almost ‘lifted’ straight out of an animated cartoon show, the Argentinian illustrator ensures every character is seen wearing their hearts upon their sleeves – with even the likes of Alfred Pennyworth being visibly hurt by Fred Jones' intimation that these days the elderly butler is only good for causing a distraction, as opposed to being able to actually ‘sneak’ about.

Written by: Matthew Cody, Drawn by: Dario Brizuela, and Colored by: Franco Riesco

Destro #5 - Image Comics

DESTRO No. 5, October 2024

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

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

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

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

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

Star Wars: Inquisitors #4 - Marvel Comics

STAR WARS: INQUISITORS No. 4, December 2024

For those devotees of Disney’s galaxy far, far away, Rodney Barnes’ conclusion to this “Star Wars: Inquisitors” mini-series must surely have come as a major disappointment. Indeed, despite having bested the Grand Inquisitor, Fifth Brother, as well as the Seventh and Ninth Sisters, this twenty-page periodical’s plot never properly explains just why the Dark Lord of the Sith regarded Tensu Run as such a major threat to the tyrannical Empire. Nor for that matter, how the rather lack-lustre Jedi Knight later becomes such a legendary figure for the Light side of the Force.

Instead, the screenwriter attempts to convince his audience that Darth Vader would continue to accept his proteges’ persistent failure without any penalty whatsoever, and that having been unconvincingly cornered on a planet, this title’s central protagonist would simply allow himself to be decapitated by his foe so he can “die at peace with all I’ve done.” Such illogical contrivances really do prove hard to swallow, most especially Run’s suicidal stance considering that the ‘rebel’ completely failed to establish the Padawan training temple he had planned, and seemingly also let the young apprentices on Zondula get massacred by a unit of elite Clone Troopers; “Do you forget the peace that once flowed within you? A life free of tormented lust for power?”

Just as badly scripted though, is debatably the startling willingness of Tensu to give up the fight for survival when trouble strikes. The human clearly likes the idea of Force sensitives having a school within which to train. But then appears utterly unwilling to keep such a dream alive by repeatedly complaining about his responsibility to the Jedi Order, and ultimately just surrendering himself to Shmi Skywalker’s sinister son without so much as raising his lightsaber in defiance.

Unhappily adding to all this confusion as to the main cast’s motivations and mind-sets are Ramon Rosanas’ layouts, which whilst being prodigiously pencilled, don’t debatably do all that good a job in helping along this book’s storytelling. Of particular note is the sequence depicting Run’s dubious decision to battle the Inquisitors in space, with the artist’s panels illustrating poor Pan’s meaningless death requiring a few re-readings before it becomes clear just how Tensu’s friend actually died. This need for bibliophiles to ‘fill in the gaps’ sadly occurs a second time too, when the so-called celebrated Jedi is shown awkwardly fending off an assault one moment, and is then quite literally hurled out of the temple by Vader in the next.

The regular cover art of "STAR WARS: INQUISITORS" #4 by Nick Bradshaw & Neeraj Menon

Destro #4 - Image Comics

DESTRO No. 4, September 2024

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

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

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

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

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

Solomon Kane: The Serpent Ring #3 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 3, July 2025

Captivatingly transporting his audience to the “dark edge of the Kingdom of Ndongo”, and a deadly rendezvous with an ancient cult of devilish Serpent people, Patrick Zircher’s penmanship for Issue Three of “Solomon Kane: The Serpent Ring” is absolutely top notch. Indeed, the American author’s handling of the Early Seventeenth-Century Puritan is so entrancing, that many within this mini-series’ audience probably felt as if Robert E. Howard himself was whispering the storyline in his ear, and the Dayton-born writer simply capturing what he heard on paper; “But proceed. Wisdom, like the wind, cometh from all quarters.”

Spearheading these successes has to be the persistent aura of danger surrounding the comic’s quite considerably-sized cast, with little love shown between many of the adventurers – most especially Mbondu, who despite living on the dangerous lands upon which Rolando Zarza now seeks his fortune, is given no respect for his expert knowledge whatsoever. In addition, the shape-shifting Father Goncallo is repeatedly shown to be as treacherous as the snake deity he worships, and any onlooker is never at ease whenever the false priest is pencilled disconcertingly lurking in a panel’s shadows.

However, by far the book’s biggest achievements has to be its two action-packed set-pieces, which whilst rather short, are still crammed full of tense desperation. In fact, this twenty-three page periodical’s plot does a grand job in keeping its readers constantly on their toes worrying as to which characters will actually survive long enough to reach beyond the Stones of Pungo and Andongo. Such uncertainty genuinely is palpable, particularly after the rogue Nico Cassini is pencilled painfully taking an arrow straight in the arm, and Kane himself is left for dead after being bitten on the shoulder by one of the High Priestess Sha-Kabet’s fearsomely-fanged pet reptiles.

Bewitchingly, Zircher also provides ample examples of his prodigiousness as a top tier illustrator. There is simply so much to admire within this publication’s layouts, from the adrenalin almost dripping off of the adventurers as they fend off a ferocious volley from a tribe of natives with their muskets, through to the crystal clear hatred in Mbondu’s eyes whenever he casts a glance at the truly despicable Zarza. And few bibliophiles will surely forget the artist's truly awesome sketch of Diamanta and Solomon seeing their first African elephant up close and personal.

Writer/Artist: Patrick Zircher, and Colorists: Pete Pantazis & Patrick Zircher