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

DC Vs. Vampires: World War V #7 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 7, May 2025

Having shockingly thrown Darkseid and his numerous parademons into this mini-series’ already convoluted mix of characters towards the end of its previous instalment, Matthew Rosenberg’s gambit for Issue Seven of “DC Vs Vampires: World War V” arguably appears to consist of him trying to keep his audience busy with pulse-pounding slugfests and adrenalin-fuelled chase-sequences, so that there wouldn’t be any time for the readers to consider just how highly improbable the New God’s sudden appearance within this storyline actually is; “Your planet’s fate was sealed when he learned of its existence. But the timeline was sped up…”

And frankly, this ploy appears to work very well right up until the twenty-four page periodical’s plot comes to a crashing halt with the introduction of the traveller from the Fourth World known as Metron. Indeed, prior to the surviving super-heroes taking stock of their high casualty rate inside the Secret Sanctuary on Rhode Island, any bibliophile flicking through this comic book should have been immediately hooked by its splendidly-penned cocktail involving Robin, Gorilla Grodd, Jade, Green Arrow and Harley Quinn battling all sorts of demonic-looking, extra-terrestrials. 

By far the American author’s biggest hook though must surely be the one-on-one battle between Wonder Woman and the aforementioned ruler of Apokolips. This punch-up sadly soon becomes rather one-sided, after a ferociously-fanged Princess Diana loses her element of surprise. But even then the writing repeatedly holds the attention by suggesting that Darkseid is highly likely to tear the undead Amazon apart at any moment - just as he did with an overly-confident Aquaman earlier.

Helping to keep this book’s whirlwind of death-dealing and narrow escapes thoroughly engrossing is Otto Schmidt, whose panels race along at a neck-breaking speed. Of particular note has to be the illustrator’s ability to suggest the utterly insurmountable size of the parademon army. However, he is also a master of pencilling some wonderful little moments within all the mayhem, like Harley Quinn’s escape from the Vampire Queen - Barbara Gordon, and Mister Miracle’s sorrowful look from his underwater prison cell when he sees a distraught Queen of Atlantis stalking straight towards him and his baby daughter.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #7 by Otto Schmidt

DC Vs. Vampires: World War V #6 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 6, March 2025

It will be quite difficult for some within this comic’s audience not to have the feeling that Matthew Rosenberg simply threw his hands up in frustration with this script for Issue Six of “DC Vs Vampires: World War V”, and just hurled the two competing armies straight against one another two-thirds of the way through. For whilst the all-out fracas on a bleak, snow-caked tundra certainly causes plenty of drama as the likes of Damian Wayne, Green Arrow and the Black Canary seemingly fall beneath the fangs of a thousand bloodthirsty thralls, the head-on conflict comes completely out of the blue.

To make this mini-series’ storyline even more troubling though, the American author also appears to throw his sub-plot concerning Mister Miracle and his baby daughter squarely under a bus, by having the highly disagreeable Atlantean ruler Aquaman simply drown the pair by submerging them underwater. These almost nonchalant murders are as coldly calculated as they come ‘left field’, and momentarily suggests that this title is somewhat shockingly going to end significantly short of the twelve instalments its Burbank-based publisher originally promised; “The battle has turned in our favour. Shall we send in the rest of the troops, my Queen..?”

Easily this book’s biggest surprise however, has to be the sudden appearance of Darkseid and his numerous Parademons, following the revelation that the hooded old woman mysteriously trying to guide Barbara Gordon’s rule over all the vampires, is actually the New God from Apokolips - Granny Goodness. This revelation is gobsmackingly ill-timed for the Nosferatu as they’re just about to best humanity’s last few surviving super-heroes, and resultantly turns the entire title’s narrative right upon its head. Indeed, to some readers it may well look like Rosenberg suddenly tired of the complicated political manoeuvrings he has previously penned for this title and spontaneously felt like wiping the chalk board completely clean.

Disconcertingly, Otto Schmidt’s artwork is rather brusque-looking too, with the various panels depicting the competing armies jostling for any advantage looking like a mere collection of unrecognisable black blobs moving upon a boring, bare white winterscape. In fact, even the Siberian-born illustrator’s Granny Goodness is a disappointing shadow of the character originally imagined by her creator Jack “King” Kirby, due to the emaciated servant of Darkseid showing none of the physical attributes which made her the formidable leader of the Female Furies on Apokolips.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #6 by Otto Schmidt

DC Vs. Vampires: World War V #5 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 5, February 2025

There can surely be little doubt that Matthew Rosenberg’s revelation towards the end of this twenty-four page publication’s plot had its readers genuinely gasping in revulsion at “the horrifying secret” behind how the vampires were still defeating the human resistance. In fact, many a bibliophile will probably find themselves unable to move along from Green Arrow’s discovery and its “shocking connection to the Speed Force” without at least re-visiting the disturbing scene a couple more times; “They’re doing something with all that food they grow. If they’re not feeding a large group of people. What are they feeding.?”

Impressively though, this eye-opener isn’t the only surprise Issue Five of “DC Vs Vampires: World War V” has in store for its audience, with the comic’s American author clearly still having a few more trump cards tucked up his sleeves. Foremost of these disclosures is probably Big Barda’s sudden emergence from out of a dark, winter night’s sky to absolutely clobber the blood-drinking fiends intent on murdering her husband (and potentially harm their infant baby). To say Jack Kirby’s creation completely annihilates the likes of a heavily-fanged Power Girl and Raven is a massive understatement, and genuinely helps imbue this comic with some truly palpable energy at a time when its other simultaneous story-threads are undeniably dialogue-driven.

Likewise John Constantine’s ill-advised visit upon the convalescing vampire queen, Barbara Gordon, doesn’t pan out quite as some onlookers might have expected – albeit the Hellblazer is seemingly a little too cocksure for his own good when it comes to antagonising Gorilla Grodd. In fact, the anti-hero’s decision to visit the dark heart of the Nosferatu Empire appears suicidally insane straight from the start, largely due to him not actually having anything tangible with which to bargain for his life.

Prodigiously pencilling all these sense-shattering shenanigans is Otto Schmidt, who really imbues Big Barda with all the momentous muscle a member of the New Gods is expected to wield. Furthermore, the Siberian-born artist does an incredible job of capturing Batgirl’s myriad of emotions using just her eyes and mouth - a talent which is particularly impressive considering that the undead creature’s entire body is covered with unsightly burns and blemishes, so it must have been extra hard providing the figure with even the smallest of facial expressions.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #5 by Otto Schmidt

DC Vs. Vampires: World War V #4 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 4, January 2025

Despite containing a couple of rather shocking revelations which should genuinely catch this comic’s audience by surprise, Matthew Rosenberg’s palpable pacing problems throughout Issue Four of “DC Vs Vampires: World War V” arguably bury much of their impact. Indeed, this twenty-four page periodical’s plot is so suffocatingly sedentary, that even a pulse-pounding battle between Alfred Pennyworth and Ra's al Ghul is somewhat drowned out amidst all the word-heavy dialogue – and at the time Bruce Wayne’s butler is wielding all the awesome power of a Green Lantern, whilst the dead billionaire’s estranged father-in-law has just been revealed as the new Batman.

Quite possibly one of this book’s other big problems are all the mysterious characters it suddenly introduces throughout the narrative. These shadowy figures are clearly going to be central to this mini-series’ main plot in the long-term. But they simply appear absolutely out of nowhere with little explanation, and supposedly shake the people they encounter to their very core, such as the shrouded old woman who confronts Gorilla Grodd inside his high-rise palace, and informs him that she knows he has lost his formidable psychic abilities since becoming one of the undead.

Likewise, many a bibliophile may well become increasingly confused as to just what Robin’s role within this convoluted storyline now plays, following the death of his mother and rebellious followers. Having previously appeared to be a major thorn in the Vampire Queen’s side, the Dark Knight’s former sidekick first appears to be a pawn in his grandfather’s scheme to become an immortal blood-drinker himself. However, once Alfred intervenes and this opportunity passes, poor Damian is simply penned as a pitiable traitor to his own kind, whose life is now seemingly without any purpose; “I’m sorry, kid. Tell yourself this is a mercy killing if that makes it easier.”

Debatably as uninspired by all these slow-moving shenanigans as many within the publication's audience is Otto Schmidt, predominantly just seems to go through the motions with his pencilling. Fortunately, the illustrator does somewhat up his game throughout the aforementioned fracas between Pennyworth and The Demon's Head, even if it does appear a little odd that the former butler’s formidable Oan energy-fuelled powers are apparently little match for the elderly mastermind’s punches.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #4 by Otto Schmidt

DC Vs. Vampires: World War V #3 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 3, December 2024

Haphazardly throwing its audience all over the show with a twenty-four page plot that arguably rarely reaches any sort of conclusion with its various sedentary scenes and action sequences, Matthew Rosenberg’s storyline for Issue Three of “DC Vs Vampires: World War V” probably struck many readers as being something of a mess. Sure, the American author does a fairly solid job in progressing Aquaman’s attempt to put an end to Damian Wayne’s unruly rebellion against the now dead Vampire Queen Barbara Gordon. But even this ambush is debatably hamstrung by its events suddenly being cut short by an unlinked, dialogue-driven interlude concerning John Constantine and the Black Canary back at the Headquarters of the Human Council.

To make matters even more bemusing though, apart from the comic’s opening, which presumably depicts the creation of the mysterious “Miracle Child” ten months ago, there isn’t a great deal of direction as to just how much time passes in between set-pieces. These time jumps cause the likes of Arthur Curry and Dinah Drake to seemingly pop up all over the place, with Green Arrow’s partner in particular appearing to be knee-deep in snow and blood-drinkers on the streets of Newark, New Jersey one moment, and then almost randomly appearing alongside an inebriated “Hellblazer” to give him some sort of earful in the next; “I didn’t know you could do magic drunk.”

Resultantly, it’s possibly only this publication’s aforementioned focus on Robin and his heavily-bandaged renegades’ battle against the vampire army which properly holds the attention. However, having witnessed Batman’s former protégé being saved at the last minute from Cassie Sandsmark’s clutches by Batwoman bravely sacrificing herself, any engaged onlooker is then left wondering exactly what happened next, as the story suddenly shifts elsewhere, and when it does return, Damian is strangely hiding alone from Black Adam deep inside a snow-laden forest somewhere.

Perhaps somewhat discombobulated by all these somewhat senseless shenanigans is Otto Schmidt, whose pencilling occasionally appears to be surprisingly rushed and undisciplined. Furthermore, the illustrator’s layouts debatably don’t tell the entire tale, such as when a blood-drinker somehow manages to wrestle from out of Ted Grant’s grip so as to slay a “traitor” spilling his guts, or Zealot apparently turns upon a horde of biters unwisely stalking her down some streets so as to slay them.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #3 by Otto Schmidt

DC Vs. Vampires: World War V #2 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 2, November 2024

Containing such an impressive variety of twists and turns that it might make even the most ardent of fairground ride fans somewhat queasy, Matthew Rosenberg’s script for Issue Two of “DC Vs Vampires: World War V” rather cleverly still makes this comic’s complicated narrative extremely accessible, courtesy of simply telling the story in sequence as events take place. In fact, with the exception of Mister Miracle’s all-too brief plot thread, each incident is arguably handled in its entirety before the reader is moved on to a new development somewhere else within this mad Elseworld.

Just as notable as this pulse-pounding pacing though is the intriguingly palpable presence of the planet’s truce between humanity’s survivors and the blood-drinkers who at one point appeared destined to conquer the Earth. This political nightmare, supported by the likes of Lois Lane and apparently despised by Black Canary, permeates almost every panel, and leaves the audience in absolutely no doubt that just one move by either side will probably result in another massive battle between the two sides; “Don’t take it personal. Some people only understand war.”

Easily this twenty-four page periodical’s highpoint however, has to be Wonder Woman’s rule-breaking incursion into a League Of Shadows safehouse, and the undead Amazonian’s utterly wicked skirmish with Talia al Ghul. The gloves really are off for this particular conflict due to the American author imbuing the dread Princess Diana of Themyscira with a truly disconcerting adoration of sickening violence. Such a dramatically different incarnation of William Marston’s co-creation is incredibly intriguing to see, as is the writer’s shock conclusion when Alfred Pennyworth desperately attempts to thwart the inhuman killer by donning the late Hal Jordon’s Green Lantern ring.

Adding plenty of visual plausibility to all these blood-curdling confrontations and divisive arguments are the pencils of Otto Schmidt and colours of Pierluigi Casolino. Together the two artists really manage to make this publication a feast for the eyes by somehow bringing the stark light of day to the streets of Dakota City, and freezing chill to the snow-covered roads criss-crossing Johnstown in Pennsylvania. Furthermore, it’s difficult to imagine a more terrifying yet seductive version of Wonder Woman patiently picking apart the Daughter of the Demon's Head or calmly enquiring with Bruce Wayne’s former butler just how he wants her to kill him.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #2 by Otto Schmidt

DCeased: War Of The Undead Gods #7 - DC Comics

DCEASED: WAR OF THE UNDEAD GODS  No. 7, May 2023

Successfully pulling together more plot threads than this mini-series’ audience would probably care to recollect, Tom Taylor’s narrative for Issue Seven of “DCeased: War Of The Undead Gods” must have left many a bibliophile utterly shellshocked at the intense ferocity of the Australian author’s “final stand for the universe”. In fact, the Stan Lee Excelsior Award-winner marvellously manages to weave so many of his epic storyline’s surviving super-heroes into this particular twenty-two-page periodical that arguably few readers will be able to ascertain just when during the chaotic battle the tide finally turns in favour of those brave warriors who would oppose “some of the most powerful entities in existence”.

Furthermore, Superboy’s determined resistance against the zombie-like “slaves to the Anti-Life” depressingly appears to be on the verge of total collapse at the start of this comic, following the shocking fall of both Damian Wayne’s incarnation of the Caped Crusader and Brainiac. These two enthrallingly penned moments are distinctly disquieting, with the Dark Knight’s demise at the hands of Undead Darkseid’s forces proving especially poignant as the protagonist is given a brief opportunity to say his goodbyes to some of his friends and family; “You’ve grown to be a very sensible young Batman.”

Indeed, this upsetting scene solidifies an engrossing theme throughout the book, where Taylor repeatedly depicts the unconquerable love given by a father to his son and the subsequent pride shown when their offspring triumph over their galaxy-ending tribulations. Such magical moments by the Melbourne-born writer should genuinely make a connection with any parent perusing this publication, providing them with both deep sadness and exhilarating joy as Mister Miracle knowingly sacrifices himself to his boy’s murderous rage, and Superman collects the badly burnt body of Jon Kent after the “Teenager Of Steel” bravely places himself in front of Warworld’s planet-destroying weapon.

Superbly sketching all these sense-shattering shenanigans is David Hairsine and Lucas Meyer, who between them add tons of world-ending atmosphere to the numerous fast-paced events as they frantically unfold. Of specific note is the sudden appearance of a thousand Kryptonians from Kandor via a stunning splash-page, who surprisingly swoop up into outer space to tackle “the biggest gun Erebos held” after their miniaturised bottle was reverse engineered by Cyborg “in a matter of moments.”

The regular cover art of "DCEASED: WAR OF THE UNDEAD GODS" #7 by Howard Porter & Rain Beredo

DCeased: War Of The Undead Gods #2 - DC Comics

DCEASED: WAR OF THE UNDEAD GODS  No. 2, November 2022

Containing one of the most gruesome deaths imaginable for a major antagonist of the “DC Comics” universe, along with a sense-shattering assault upon the planet Korugar, Tom Taylor’s penmanship throughout Issue Two of “DCeased: War Of The Undead Gods” must surely have bewitched many a bibliophile within this book’s audience. Indeed, it’s difficult to imagine a more spell-binding ride than the one which this particular twenty-two-page periodical provides, as super-powered parents grieve for their lost son and Soranik Natu witnesses the cataclysmic fall of the mobile weaponized satellite Warworld.

True, part of this comic does get a little bogged down with a somewhat lengthy conversational piece between Guy Gardner, Superman and Brainiac on Earth-2. But even this sedentary, wordy-heavy moment of exposition arguably proves to be incredibly enthralling, courtesy of the ex-Baltimore policeman turned intergalactic law enforcement officer demonstrating all the conceited, childish personality traits which have supposedly made him “the most despised” of all the Burbank-based publisher’s Green Lanterns; “I’m an eleven on the Guy Gardner greatness scale. And the scale only goes up to six. That’s how good I am.”

Just as arrogant though is Kyle Raynor and his medically trained wife, who together inadvertently thwart Sinestro’s Yellow Lantern Corps from inflicting a devastating opening salvo upon the unliving Darkseid. This utterly unfounded hubris is genuinely infuriating and may well have caused the odd reader to smirk with some misplaced sense of satisfaction when Ganthet’s protégé gets his clock well and truly cleaned by an insanely rabid Supergirl. However, such a feeling was probably fleeting at best, as the horrendous blow subsequently leads to the grisly demise of Korugar’s numerous would-be rescuers.

Helping to instil a palpable sense of threat and fear throughout all these pulse-pounding proceedings are Trevor Hairsine’s layouts, which do a tremendous job of depicting the unsettling ‘Elseworlds’ like environment within which this mini-series’ narrative is set. Whether it’s the heavily damaged Home of the New Gods, complete with death-dealing Boom Tubes, or Natu’s overwhelmed planet, the British artist’s pencilling conjures up all manner of nightmarish events – not least of which is the sticky fate of Hal Jordan’s arch-nemesis.

The regular cover art of "DCEASED: WAR OF THE UNDEAD GODS" #2 by Trevor Hairsine & Rain Beredo