The Infernal Hulk #8 - Marvel Comics

THE INFERNAL HULK No. 8, August 2026

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

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

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

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

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

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

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

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

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

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

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

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

The Infernal Hulk #7 - Marvel Comics

THE INFERNAL HULK No. 7, July 2026

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

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

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

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

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

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

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

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

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

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

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

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

The Infernal Hulk #6 - Marvel Comics

THE INFERNAL HULK No. 6, June 2026

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

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

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

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

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

The Infernal Hulk #3 - Marvel Comics

THE INFERNAL HULK No. 3, March 2026

Touted as being a “pivotal issue” in which the comic’s readers will finally discover just “what happened to Bruce Banner in that cave”, this twenty-page periodical probably came as something of a disappointment to its customers. In fact, despite somehow being the forty-seventh best-selling book of January 2026 – at least according to “Icv2.com” – many a Hulk-head could debatably have given it a miss and been no less the poorer as far as the ongoing series’ over-arching narrative was concerned; “One of the bravest, most selfless, most brilliant scientists who ever lived transformed into a snivelling coward.”

For openers, absolutely nothing of any consequence whatsoever actually takes place within the publication, as Phillip Kennedy Johnson’s disappointingly sedentary script focuses upon the domestic life of Betty Ross and her ‘husband’ in sleepy Muncie, Indiana. Sure, General Thunderbolt Ross’ daughter has a disconcerting episode in the kitchen one night when she starts to self-harm after being unable to open a tub of ice cream. But many a bibliophile would debatably have preferred her ordinarily strong-willed character to have demonstrated her frustration at no longer being able to become the super-powered Harpy in a far less extreme manner than mutilating her own body with a kitchen knife.

Furthermore, as Iron Man rather bluntly points out to the nuclear physicist, the customarily brave Banner is depicted within this publication as a selfish, spineless individual, who rather than help Humanity fend off Eldest’s seemingly unstoppable incarnation of the Hulk, would much prefer to simply skulk in the shadows with little regard for anyone’s safety. Perhaps unsurprisingly, such a huge departure from the ‘norm’ actually makes “David Hamilton” a rather disagreeable character, and resultantly causes his endless, dialogue-driven scenes to be quite a chore to progress through.

Lastly, the decision to chaotically mesh the distinctly different drawing styles of Kev Walker and Nic Klein together in a single comic must surely have thrown any and all onlookers completely out of the storytelling whenever the swap occurs. This amalgamation of artwork proves particularly annoying towards the end of the book, when a couple of panels featuring Klein’s readily recognisable Hulk is suddenly crowbarred in between Walker’s much less detailed Iron Man whilst Shellhead is talking with Banner in his backyard.

The regular cover art of "INFERNAL HULK" #3 by Nic Klein

Planet Of The Apes Verses Fantastic Four #2 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 2, May 2026

Whilst there’s arguably little doubt that Issue Two of “Planet Of The Apes Verses Fantastic Four” should provide the vast majority of its readers with an enthralling experience, the sheer number of subplots Josh Trujillo throws into the twenty-page periodical’s narrative suggests that the Los Angeles-born writer was perhaps a little concerned as to whether his story would have the legs to run for an entire “four-issue Marvel comic miniseries.” In fact, towards the middle of the book the whole premise of the title appears to suddenly swing around to following in the footsteps of Michael Wilson and Rod Serling’s screenplay for the 1968 motion picture, rather than anything particularly original; “Based on what Taylor said, I have an idea of where the ship crashed. But not what condition it’s in.”

To make matters even more confusing though, the American author also creates a large, gun-toting population of straw-hat wearing gorilla farmers who rather unconvincingly rise up to assault the soldiers of Ape City simply because a red-hooded stranger informs them over a night-time campfire that their civilisation’s leaders are feeding four humans with their harvest. So bizarre a predicament genuinely smacks of this tale rather desperately needing some sort of threat to draw the likes of General Ursus back to the capital, and debatably appears disappointingly contrived at best.

What does land well however, has to be Johnny Storm’s discovery of a submerged ANSA space vessel at the bottom of the Forbidden Zone’s lake. This sequence should bring back a wave of nostalgia to any bibliophile who has watched Franklin J. Schaffner’s original science fiction flick, and also muse the ramifications of poor Stewart’s demise when the meta human spots the dead astronaut’s rapidly aged corpse still inside her compromised hibernation pod.

Perhaps therefore the most consistent thing about this publication are the pencils of Andrea Di Vito and Erick Archiniega’s colours. Together the artists do an absolutely first-rate job of depicting this crossover comic’s considerably-sized cast, with the rather imaginatively rock-covered Doctor Zaius proving especially memorable. Furthermore, Urus’ brush with one of the Red Ghost’s super-apes really brings home just how physically strong gorillas are – whether it be the General or Miklho.

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #2 by Greg Land & Rachelle Rosenberg

Planet Of The Apes Verses Fantastic Four #1 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 1, April 2026

Described by its New York City based publisher as “an exciting new chapter in Marvel Comics’ storied history with Planet of the Apes” when it was first announced in November 2025, Josh Trujillo’s plot for this four-part mini-series’ opening instalment probably caught quite a few of its readers off-guard by stripping Reed Richards’ famous super-team of their special powers. Indeed, for those bibliophiles expecting to witness the Fantastic Four dynamically going toe-to-toe against the gorilla soldiers of human-hating General Ursus, this particular twenty-five page publication will undoubtedly strike them as being rather sedentary in its storytelling; “Your quality remains undetermined, but you leave this tribunal with many questions.”

True, the American author’s narrative isn’t entirely confined to being a dialogue-driven courtroom drama, and does – courtesy of an adrenalin-fuelled flashback sequence – provide a genuinely scintillating bout of fisticuffs between Stan Lee’s co-creations and the Red Ghost. However, just how Ivan Kragoff managed to penetrate the well-documented security systems of the Baxter Building with his Super-Apes, let alone activated Mister Fantastic’s Di-Quantum Stabilizer is never explained, and may well resultantly strike some in the audience as simply providing this comic with some much-needed “Thok!” before the book gets too bogged down with a seemingly never ending carousel of conversations.

Perhaps this publication’s best moment therefore occurs just after a de-powered Fantastic Four miraculously arrive in one of the large crop fields belonging to Ape City, and are quickly captured by a handful of soldiers. This sequence does a good job of acknowledging one of the defining scenes in Franklin J. Schaffner’s 1968 movie “Planet of the Apes”, and certainly brings back memories of actor Charlton Heston deftly dodging one of the gorillas’ nets as they unsuccessfully tried to ensnare his silver screen alter-ego.

Likewise, Andrea Di Vito does a first-rate job in capturing all of Twentieth Century Studio’s science fiction characters – such as “Cornelius, Zira, Ursus, and of course Dr. Zaius!” Furthermore, the illustrator's backgrounds make it is very easy to imagine the increasing roar of a hostile crowd as the leading member of the Ape National Assembly, Minister of Science and also Chief Defender of the Faith desperately attempts to “follow the rules set forth by the Lawgiver” so as to ascertain just who these (new) talking humans actually are.

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #1 by Greg Land & Rachelle Rosenberg

Fantastic Four #12 - Marvel Comics

FANTASTIC FOUR (FACSIMILE EDITION) No. 12, February 2026

“Arguably one of the first Marvel Crossovers between titles”, Stan Lee’s script for Issue Twelve of “Fantastic Four” clearly contains a number of mesmerising moments – not least of which is the eventual battle between the titular characters and Bruce Banner’s gamma green alter-ego. However, the twenty-three page long narrative does seem to take an eternity to reach so cataclysmic a confrontation, and also features a fair few eye-raising scenes which make it very much of its time; “Miss Storm, a pretty young lady can always be of help -- just by keeping the men’s morale up!”

Foremost of these early Sixties setbacks has to be the treatment of Invisible Girl and her inability to even stay visible whilst watching recorded footage of the Incredible Hulk. Sue’s entire development arc throughout the comic is simply to stand on the side-lines and only step in when either a befuddled armed soldier gets close to shooting at anything which moves, or an utterly oblivious Russian spy is about to blow away Aunt Petunia's ever-loving blue eyed nephew with a handy "atomic-powered weapon". Indeed, Mister Fantastic’s eventual wife doesn’t even fight the founding Avenger, preferring instead to impotently run away from the behemoth whenever she gets within arm's reach.

Similarly as disconcerting has to be the American author’s depiction of the Thing and Human Torch – both of which debatably come across as being disagreeable and dislikeable. Admittedly, Ben Grimm's hot-headed attitude to show-off his great strength does result in him rather enjoyably duking it out with “a company of infantrymen” directly outside the City Symphony Auditorium. But this clash is soon resolved courtesy of a lungful of sleeping gas, and quickly gets swallowed up amidst a series of increasingly dialogue-driven scenes featuring General “Thunderbolt” Ross.

Luckily Jack Kirby appears to be desperate to imbue as much of this “book-length epic” with his legendary, pulse-pounding pencils as his panels can take. The aforementioned punch-ups between the super-group and Hulk, as well as the Thing’s bout against the American military are packed full of adrenalin-fuelled action. Furthermore, the prolific artist does a first-rate job in depicting the mental aspirations of Reed Richards’ team-mates once they meet their formidably-strong adversary, and even manages to make the re-designed Fantasti-Car appear as “impressive-looking” as Captain Nelson’s superior officer suggests.

Script: Stan Lee, Art: Jack Kirby, Inking Dick Ayers, and Lettering: Art Simek

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

What If...? Dark: Venom #1 - Marvel Comics

WHAT IF...? DARK: VENOM No. 1, October 2023

For those readers able to overlook the unconvincing manner in which Ben Grimm momentarily becomes Venom, along with a few other bemusing contrivances, this thirty-page periodical’s plot probably proved pretty pulse-pounding in August 2023. True, the comic arguably focuses more upon the Lizard’s truly savage merger with Spider-Man’s infamous symbiote than it does the titular character. But it still manages to deliver a wonderfully gratuitous conclusion which is genuinely not for the faint-hearted; “You thought I wassss nothing more than a creature. You thought you were the ssssmartest man around when we were sssstuck on Battleworld…”

In fact, such is Stephanie Phillip’s portrayal of Reed Richards as the very worst kind of self-opinionated, holier-than-thou scientist – who at one point quite literally cuts his wife’s sound protestations short with a terse command - that a fair few bibliophiles may well have disconcertingly felt that Mister Fantastic receives his ‘just deserts’ in the murderous maw of Curt Conner’s ferocious alter-ego when artist Jethro Morales prodigiously pencils the large reptile bloodily biting off his head.

Disappointingly though, the actual storyline leading up to the death of the Fantastic Four’s ordinarily super-supple leader is somewhat head-scratching, courtesy of the author turning Grimm into a strangely disagreeable dullard. Of course, many within this book’s audience will doubtless point to the Yancy Streeter’s desperate desire to look human again as being one of the protagonist’s main drives. Yet so experienced an inter-dimensional traveller would surely never simply release the deadly Venom symbiotic simply because it pitifully taps on its glass container when he approaches it..?

To further compound the problem however, the writer would then also have any looker believe that Ben would subsequently turn to the Lizard for help in retaining his new-found good looks in an underground sewer-based scientific facility, and simply allow one of Peter Parker’s most prominent arch-villain’s to surreptitiously snatch the sentient alien from him. This entire scene sadly smacks of Phillip’s just wanting to replicate a similar situation seen in Tim Story’s 2005 “Fantastic Four” movie where the Thing, housed inside a giant glass chamber, desperately needs to revert to his ‘monster self’ before the antagonist defeats both Invisible Woman and her husband, and resultantly begs the question as to just why she didn’t pen for Connors to become Venom in the first place..?

Writer: Stephanie Phillips, Artist: Jethro Morales, and Colorist: Israel Silva

Free Comic Book Day 2024: Blood Hunt/X-Men #1 - Marvel Comics

FREE COMIC BOOK DAY 2024: BLOOD HUNT/X-MEN No.1, May 2024

Described by its New York City-based publisher as the “thrilling first steps” into Marvel Worldwide’s “next monumental crossover event”, Jed MacKay’s script for this early glimpse into “Blood Hunt” definitely should have whetted the appetites of any bibliophiles anticipating the Structure’s all-out undead assault upon the living. In fact, the ten-page preamble debatably does an incredible job of informing its audience as to just how the vicious vampires are able to stalk their prey during daylight, and quickly hurling some of the Big Apple’s most recognisable super-heroes headfirst into the frightening fray; “Horray. Another unproblematic win for old Spidey.”

Furthermore, this “Free Comic Book Day” celebration shows straight from the start just how gory this multi-title epic is likely to be, by depicting the Man Without Fear almost nonchalantly disembowelling and beheading his ferociously fanged foes using the cable holding together his billy club. So violent an opening seemingly bodes incredibly ill for the survival rate of those wretched bystanders facing the blood-drinker’s series of “ambitious, coordinated attacks that put humanity on the defensive”, and this strong sense of desperation is only worsened when it becomes evident that Blade’s daughter, Brielle Brooks, is going to have to team-up with her father’s most hated nemesis, Dracula, if she hopes to escape the streets of Atlanta unscathed.

Equally as intriguing as MacKay’s “nocturnal war” though, is this publication’s second yarn “The Fire Still Burns”, which sees Eisner Award Winner Gail Simone essentially pen a solo Jubilee story in preparation for the American author’s upcoming run on “The Uncanny X-Men”. Initially focusing upon the government’s apparent dismantlement of Charles Xavier’s School For Gifted Youngsters, this enticing insight into Chris Claremont’s co-creation could so easily have become a disconcertingly dark reading experience.

Happily however, despite the firework-generating pyrotechnic encountering a rather unpleasant quartet of young mutant-haters in an all-star diner, the story does eventually end on a much more positive note, with the former gymnast finding the motivation she needed to rejoin Wolverine and Rogue. Indeed, coupled with David Marquez pencilling some mesmerising insights into the villainous antagonists now utilising Professor X’s home as their own headquarters, and this “glimpse of the future of mutant-kind” enjoyably establishes the two opposing sides for the battle to come.

Writers: Jed MacKay & Gail Simone, and Artists: Sara Pichelli & David Marquez

Fantastic Four #605 - Marvel Comics

FANTASTIC FOUR No. 605, June 2012

Despite its New York City-based publisher’s attempt to imbue this book with some semblance of pulse-pounding speed, courtesy of a disingenuous solicitation synopsis which sensationally declares “the team must literally fight to save their future”, Jonathan Hickman’s plot to Issue Six Hundred And Five of “Fantastic Four” is pleasingly slow-paced and simply uses good penmanship to enthral its audience rather than action-packed fireworks. Indeed, considering that this twenty-page periodical contains nothing more than a series of dialogue-driven, sedentary set-pieces, many of this comic’s readers probably still felt somewhat emotional once its storyline concluded; “I’ve missed you too, Stretch.”

To begin with the American author depicts a genuinely caring Reed Richards, who whilst delighted that the Thing is finally able to revert “to his normal human form for approximately one week every year”, is clearly still worried about his friend’s future, and therefore devises a plan to travel forwards one thousand years. Ordinarily such a plot thread could lead to all sorts of unbelievable flights of technobabble-fuelled fancy. But on this occasion the writer simply settles for penning Ben Grimm’s increasingly solitary existence, where even the immortal Franklin Richards eventually leaves the super-team “to run with the Gods.”

This decline is genuinely touching, as the Fantastic Four’s former powerhouse wearily wanders through an age where there are quite literally hundreds of Future Foundation graduates willing to put any unruly villain back in their place without a moment’s notice. As a result, Benjamin becomes increasingly mournful that the original roster are long dead, and, with typical Yancy Street humour, that the former astronaut hasn’t even “had a hamburger in fifteen hundred years.”

Much of this pathos is generated by the prodigious pencilling of Ron Garney, whose ability to sketch the Thing with an increasingly long beard, really helps sell the eternity which has passed in between Reed Richards’ time skips. Interestingly however, the artist doesn’t seem to be quite on his best game at the book’s start, when strangely both Mister Fantastic and his father seem to be lacking in facial detail – at least until the narrative has them arriving in the Big Apple in 3012 A.D. aboard an invisible observation platform.

Writer: Jonathan Hickman, Artist: Ron Garney, and Color Artist: Jason Keith

Ultimate Invasion #1 - Marvel Comics

ULTIMATE INVASION No. 1, August 2023

Apparently penned “in the bold tradition of the Ultimate Comics line,” Jonathan Hickman’s “new vision of the Marvel Universe” certainly should have caught the imagination of its readers with its pulse-pounding opening and the sensational gunplay which it entails. In fact, the four-person team’s outrageously upfront attempt to simply walk into the heavily fortified Damage Control Remote Prison 42 and brazenly wipe out its hapless inhabitants is wonderfully written, especially as the South Carolina-born author uses mercenary replacement Jackson to ask all the questions which are doubtless occurring to the audience as the murderous action ensues.

Perhaps somewhat disappointingly however, this enthralling narrative slows down quite considerably once Dominic Green, Mischa Slope and Randall West remove their masks at the behest of their one-billion-dollar prize. The Maker has always arguably been a bit of a dialogue-driven super-villain, even before the terrorist’s Earth-1610 was destroyed when the Multiverse perished. Yet in this oversized forty-page-periodical, the “Human Mutate altered by the N-Zone” simply doesn’t stop waxing lyrical about his grand scheme, even towards the end of the book when he faces the combined might of the Illuminati; “How can you stop me when you know neither where I’m going nor what I’m going to do.?”

Frustratingly, the 'real' Reed Richards isn’t shy of ratcheting up the word count either, most notably when he briefs the rest of the planet’s disconcertingly impotent “covert think-tank” as to what his devious interdimensional duplicate has been up to since escaping custody. The Fantastic Four founder’s summary of the criminal’s various thefts from Wakanda, New Arctilan, the Sanctum Sanctorum and the ruins of Atlantis is probably this publication’s biggest missed opportunity as Hickman simply has Mister Fantastic gloss over these cataclysmic events with a few well-populated text balloons, rather than providing the book’s bibliophiles with some much needed frantic fighting and high-octane battle sequences.

Ultimately therefore, the success of this comic rests upon the shoulders of Bryan Hitch, whose layouts, especially during the aforementioned jail break, are top notch. Indeed, perhaps the biggest motivation for purchasing this publication lies in its behind-the-scenes article featuring the British artist’s raw pencils, which provide a terrific insight into just how much detail the illustrator crams into each and every one of his prodigious panels.

Writer: Jonathan Hickman, Penciler: Bryan Hitch, and Inker: Andrew Currie

Shang-Chi [2021] #6 - Marvel Comics

SHANG-CHI No. 6, January 2022

As finale’s go, Gene Luen Yang arguably still leaves a lot ‘hanging in the air’ with his final instalment to “Shang-Chi Verses The Marvel Universe”. But whilst a truly despisable Tony Stark and Reed Richards disconcertingly depart the Master of Kung Fu’s partially destroyed headquarters still arrogantly believing that they were right to attack their former friend because of an evidently ill-placed hunch, the California-born writer’s storyline still provides its audience with plenty of high-octane, action-packed entertainment.

Foremost of this twenty-one page periodical’s hooks has to be the titanic tussle between Commander Hand and the mighty Thor, which momentarily threatens to level the entire House of the Deadly Sabre with the truly phenomenal forces on display. Admittedly, it soon becomes apparent that Shang-Chi isn’t actually fighting with “the power of Takemikazuchi, the God of Blades and Thunder”, but rather a disguised Cosmic Cube. However, such a deception at least momentarily manages to wipe the infuriatingly smug smile off of Odinson’s face, when he’s shockingly cut on the cheek by the seemingly rapier-sharp magical sword, and resultantly realises he might not actually be as undefeatable as his overconfident team-mates all believe.

Likewise, the elite martial artist’s ability to persistently hold off the best efforts of Iron Man are incredibly satisfying. The American author really does a first-rate job of penning the Golden Avenger as an incredibly dislikeable bully, whose contemptible self-importance supposedly fully justifies him being able to threaten a group of non-super-powered onlookers with death and destruction. So when the titular character stoically holds his own against Stark’s ‘trump card’, it’s not hard to imagine many within this publication’s audience cheering aloud at the billionaire industrialist's obvious discomfort; “Shang-Chi’s holding his own!”

Injecting this comic with all the sense-shattering sketches needed to make such a frenzied fracas followable is Dike Ruan and colorist Triona Farrell. The Chinese artist does a fantastic job of imbuing the Master of Kung Fu with all the blinding speed a reader might expect from a close combat expert occasionally referred to as “the Chi-Meister”, and later does an equally fine job in depicting all the electrical energy resonating from the mortal being’s intense battle against the living God of Thunder.

The regular cover art of "SHANG-CHI" #6 by Leinil Frances Yu & Sunny Gho

Marvel Two-In-One #3 - Marvel Comics

MARVEL TWO-IN-ONE No. 3, May 1974

Featuring a Gil Kane cover illustration which would actually go on to serve “as the template for Daredevil’s 1975 Slurpee” cup, as well as promising a sense-shattering shoot-out involving the Man Without Fear and a gang of well-armed Black Spectre soldiers, Steve Gerber’s narrative for Issue Three of “Marvel Two-In-One” probably ended up deeply frustrating the vast majority of its readers in May 1974. Indeed, with the bi-monthly’s repeated references to the storylines of other “Marvel Comics”, such as “Shanna, The She-Devil” and “Ka-Zar”, as well as the book’s unfinished plot disagreeably continuing straight into the next edition of “Daredevil”, it must have been difficult for this nineteen-page periodical’s audience not to see this publication as anything other than a blatant advertisement for some of editor Roy Thomas’ other titles.

To make matters worse, even the half-realised insight into “Daredevil’s ongoing battle with Nekra and the Mandrill” which this comic does depict isn’t arguably all that satisfying, courtesy of the Missouri-born author’s insistence to predominantly focus the opening third of “Inside Black Spectre!” on Reed Richards’ experiments upon the child-like Wundarr in order to design the super-powered alien a brand new costume. True, this sequence does lead to an enjoyable acrobatic display from Matt Murdock’s alter-ego, but it’s then rather trivialised by depicting the blind crime-fighter having to ask the Fantastic Four for his baton back like he was some hapless child who had inadvertently kicked their ball over into someone’s back garden; "Listen… I need your help. I, eh, left my billy club up on your roof, and…”

Adding to this book’s choppiness is an utterly whacky theatre date Murdock ‘enjoys’ with Foggy Nelson’s mysterious sister Candace. Featuring an actor dressed as Captain America who is then brutally gunned down by a suicidal Adolf Hitler lookalike, this farcical fuss seems to have been solely manufactured as a contrivance to have Matt chase after the Black Widow’s “bizarre aircraft” across New York’s skyline, and makes as much sense as Daredevil subsequently attempting to drop-kick Ben Grimm into submission so as to steal the Fantasticar from the top of the Baxter Building.

Resultantly, perhaps this comic’s one saving grace are Sal Buscema’s layouts, which together with Joe Sinnott’s inking, incredibly manage to bring many of the aforementioned oddities to dynamic life. The heroic duo’s fisticuffs against Nekra and her goon squad appear especially well-pencilled, with an enraged Ben Grimm tossing around his would-be attackers like they were skittles, and completely ignoring the best efforts of Natasha Romanova to bring the Thing down with her famous Widow’s Sting.

Writer: Steve Gerber, Artist: Sal Buscema, and Inker: Joe Sinnott

Marvel Two-In-One #36 - Marvel Comics

MARVEL TWO-IN-ONE No. 36, February 1978

Disappointingly a rather water-logged Benjamin Grimm sums up the quality of this seventeen-page nonsensical narrative by Editor Marv Wolfman in the book’s opening panel by exclaiming “Wotta revoltin’ development this is!” For “A Stretch In Time” not only concludes the Thing’s two-part prehistoric adventure with “Skull the Slayer and his band of time-lost travellers” but also appears to show the two-time Jack Kirby Award-winner’s writing at its most unimaginative.

Indeed the Brooklyn-born writer appears to be so uninspired by his own storyline that having extensively depicted the super-heroes outrunning an especially carnivorous Tyrannosaurus Rex in order to try and reach “the plane that brought us here” in the previous issue, he abruptly has them both find “the charred ruins of the Lockheed Hercules lying in a jungle plain” and unbelievably return "to Ben Grimm’s experimental jet” with "the batteries and parts they need” within the space of a single text box. Considering the group were last seen wearily dragging themselves ashore having fallen down “a blamed waterfall” following an encounter with some ludicrously fanged sauropods, it is inconceivable that the rest of their exploration of this antediluvian world was "uneventful". At the very least they must surely have encountered more of the primordial fauna…

Instead, less than halfway through the comic, Wolfman miraculously has “the anxious five” fly their hastily repaired “super-sonic jet… up into the scarlet skies” and immediately travel back through the Bermuda Triangle to modern-day Miami. Such woeful lazy insipid writing by the co-creator of Blade is both incomprehensible and unforgivable. Doubly so when it means that the Shazam Award-winner then has to populate the rest of the magazine with a tired, poorly thought out battle sequence between the Jaguar Priest and a semi-powerless Reed Richards; as Jeff shouts “I don’t believe it…”

Fortunately such a bland apathetic adventure is at least given some life due to the remarkable pencilling of Ernie Chan. The Filipino-American artist’s illustrations, especially his dynamic portrayal of Mister Fantastic and the “lumpy orange gorilla” battling a flock of giant-sized pterosaurs above Cape Canaveral, are as wonderfully vigorous and vibrant as his blending of flying lizard with space-flight technology is historically inaccurate.

Writer/Editor: Marv Wolfman, Artist: Ernie Chan and Colorist: Michele Wolfman