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

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

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

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

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

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

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

Conan: The Barbarian Free Comic Book Day May 2025 - Titan Comics

CONAN: THE BARBARIAN FREE COMIC BOOK DAY MAY 2025

Largely ‘locked on’ to a seventeen-year-old Conan’s unsuccessful attempt to burgle Aztrias Petanius’ manor in Nemedia, there initially appears to be plenty of engrossing narrative within this ‘Free Comic Book Day’ publication to keep even the most die-hard of Robert E. Howard fans thoroughly enthralled. Indeed, despite the aspiring thief’s poor choice of prey, and the Cimmerian’s unwillingness to actually splatter anyone’s brains during his confrontation with a pair of veteran guards, this periodical’s sixteen-page plot still contains a solid mixture of suspense, action and even glib humour; “Apparently the most appropriate punishment is letting your pitiful life carry on, worm.”

Unfortunately for some readers though, once this neatly-penned precursor to the 1952 short story “The God In The Bowl” concludes, the rest of Jim Zub’s script disappointingly transforms into a choppily-paced advertisement for the Canadian author’s upcoming "epic Conan event”, and rather ungracefully attempts to tie the titular character’s earliest adventures in with those of Brule the Spear-Slayer, Professor John Kirowan and Thoth-Amon. Of course, providing just such an appetiser is precisely the point behind this particular prelude to "Titan Comics" latest four-issue mini-series. However, it’s so clunkily crowbarred onto the end of this book's central yarn that it arguably appears a little too desperate in its desire to attract pre-orders.

In addition, the Web Cartoonists’ Choice Award-winner’s apparent obsession with the Hyborian Age's most powerful Stygian sorcerer being behind practically every one of the barbarian's misfortunes may well strike any bibliophiles already familiar with the writer's backlog of numerous Conan tales as being rather unimaginative – especially as the duo never actually meet face-to-face in any of the original novellas. Yet here is Zub (once again) trying to not only intrinsically link the two together, but also suggest that the snake-fixated warlock is dubiously connected throughout time and space to some of the father of sword and sorcery’s other creations too.

Probably this book’s biggest asset can therefore be found inside the layouts of artist Ivan Gil, who adds both the grandeur and grimness some bibliophiles may well expect to see whilst visiting the “night-swept streets” of Nemedia’s second largest city. In fact, the illustrator’s incredible ability to pencil a pair of snarling, ill-tempered soldiers in one panel, and then sketch them fearfully back-peddling away from the black-haired, heavily-muscled rogue before them in the next, is truly breath-taking.

Writer: Jim Zub, Artist: Ivan Gil, and Color Artist: Jao Canola

Star Wars: The Acolyte - Kelnacca #1 - Marvel Comics

STAR WARS: THE ACOLYTE - KELNACCA No. 1, November 2024

Considering that this one-shot’s New York Times bestselling author arguably relegates the titular character to a secondary cast member, it is quite probable that a fair few readers of “Star Wars: The Acolyte – Kelnacca” came away from the comic fairly disappointed. Indeed, some of the Bristol-born writer’s decisions concerning the Wookie Jedi Master surely had many a bibliophile shaking their heads in confusion as to just what his twenty-five page plot was trying to achieve; “That’s it. They’re safe, Master. But what about you? Okay. Okay. I’m leaving.”

Sure, during actor Joonas Suotamo’s interview at the rear of the book it is explained that the publisher was attempting to explain some of the great warrior’s “ever-present scalp tattoos”, and it certainly couldn't have been easy for anyone to pen a story where the named protagonist doesn’t actually say a word – or even growl much for that matter. However, such hurdles debatably still fail to explain why so much of this tale appears to revolve around Yarzion Vell’s almost selfish obsession to get his Jedi training finished following the death of Master Lulad, rather than focusing upon the almost three-metre tall alien from the planet Kashyyyk subsequently battling against the nefarious Nihil marauders who caused Starlight Beacon space station to crash into the planet Eiram’s ocean.

In fact, disappointingly little in this ‘hit Disney+ series debut’ truly suggests just how formidable a fighter Kelnacca is, due to its narrative predominantly just showing him using the force to either lift rubble or keep the flames of a burning thatched hut at bay. Instead, so much of this comic follows the aforementioned pointy-headed Vell, as he explains to Padawan Ordea his own personal adventures whilst learning the ropes from the Wookie Jedi.

Such disillusionment with the publication’s script means that much of the heavy-lifting relies upon the artistic skills of Marika Cresta, and the Ringo Award-nominee doesn’t appear to disappoint – most notably when she pencils Kelnacca superbly somersaulting his way through more Nihil tormentors in a double-splash page set a year after the Starlight Beacon was destroyed. Coupled with proficient colorist Jim Campbell, it’s simply a pity that the illustrator isn’t given more dynamic action sequences to draw, as opposed to a series of death scenes and dialogue-driven flashbacks.

Writer: Cavan Scott, Artist: Marika Cresta, and Color Artist: Jim Campbell

Marvel & Disney: What If...? Donald Duck Became Wolverine #1 - Marvel Comics

MARVEL & DISNEY: WHAT IF...? DONALD DUCK BECAME WOLVERINE No. 1, September 2024

Announced in April 2024 at the Bologna Children’s Book Fair in Italy, it was pretty clear straight from the start that Issue One of “Marvel & Disney: What If....? Donald Duck Became Wolverine” would very much be a tongue-in-cheek celebration of the two titular character’s impressively-long anniversaries. But whilst few fans were likely to take Luca Barbieri’s script even slightly seriously, this twenty-five page periodical’s plot still probably didn’t land with its audience quite as well as Senior Editor Mark Paniccia had imagined; “I want to sleep some more… A couple of hours… Even better, a couple of days!”

For openers, it’s never explained just how Pete-Skull has managed to rid Duckburg of both its super-heroes and their various “invincible weapons”, nor how he evidently missed Mickey-Hawkeye, Donald-Wolverine or (Lord help us) Goofy-Hulk during his unstoppable conquest. Instead, the narration simply states it as a fact and then subjects the reader to a long-winded sequence depicting Dick Lundy’s co-creation as a lazy loafer who simply wants to slob in a swinging hammock and eat copious slices of his Granma’s apple pie.

Such a scene is certainly endearing, and simultaneously emphasizes the duck’s ‘fowl’ temper which is at the very heart of the tale. However, it is so long-winded that many a bibliophile will surely have preferred a bit more backstory as to how Pete-Skull and his minions took over the fictional U.S. state of Calisota, rather than witness Donald perform a series of gruelling chores on an idyllic farm.

Furthermore, once the protagonists eventually do arrive at their red-faced foe’s headquarters, they appear to quite literally drive straight up to the Beagle Boys and immediately surrender without the slightest sign of opposition. Of course, this tactic is later shown to be a ruse by Mickey so as to get his feathered friend right beside their arch-nemesis before he bops him with a giant green paint bomb. Yet it also appears to have been another missed opportunity to inject the comic with some much needed action, even if the likes of a grey-skinned Goofy-Hulk were soon defeated.

What does seem clear, and is in many ways this book’s biggest draw, is that all the ‘heavy-lifting’ falls upon the shoulders of artist Giada Perissinotto, who repeatedly pencils Donald performing many of Wolverine’s more iconic poses via flashback sequences. Donning the mutant X-Man’s most famous costumes and guises, these sketches of the adamantium-clawed duck’s greatest moments are just superb and truly wonderful to behold. Though as aforementioned, appear to have been included in this “unexpected mashup adventure” at the expense of any particularly thought-provoking plot or storyline.

The regular cover art of "MARVEL & DISNEY: WHAT IF...? DONALD DUCK BECAME WOLVERINE" #1 by Giada Perissinotto & Lucio Ruvidotti

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

Civil War: The Confession #1 - Marvel Comics

CIVIL WAR: THE CONFESSION No. 1, May 2007

Considering that this twenty-two page periodical essentially just consists of some conversations between Iron Man and Captain America, it is arguably somewhat impressive that Issue One of “Civil War: The Confession” was the eighth best-selling comic book in March 2007 – at least according to “Diamond Comic Distributors”. Indeed, in principle Brian Bendis’ notion of two characters simply talking to one another about their motivations and beliefs for the entirety of a “Rated T+” one-shot debatably sounds rather uninspiringly dull, and certainly not the sort of publication which would sell a staggering 112,416 copies.

Happily however, such is the penmanship of this title that it succeeds in providing both a genuinely intriguing insight into what made Tony Stark battle against his long-time comrade-in-arms, and that the new Director of S.H.I.E.L.D. seemingly now regrets so zealous a stance following the Sentinel of Liberty’s subsequent assassination. These nagging doubts really are convincingly delivered, as Shell-head initially appears to be trying to once again justify himself to his ‘old friend’, before finally succumbing to the dread realisation that his support of the Superhuman Registration Act and all the horrendous sacrifices he made wasn’t in any way “worth it.”

With such a high bar set, the American author then deep-dives into the psyche of Steve Rogers, and presents a morally-right super-hero, who appears to pity his opponent when he realises Iron Man arrogantly believes he’s won simply because the First Avenger surrendered to the authorities. This contrast in perceptions is particularly well demonstrated when Captain America is first brought to his prison cell and a soldier instinctively still salutes him – as opposed to the reception Stan Lee’s victorious co-creation receives upon arriving on the S.H.I.E.L.D. Helicarrier; “Can you feel it out there? They don’t like me here and they don’t want me here.”

Adding a gritty realism to all these sedentary, yet still pretty intense proceedings, is Alex Maleev, who quite wonderfully shows the weight of Tony’s new world bearing down upon his ultimately unworthy shoulders. The leader of the United Nations Peacekeeping Task Force really looks like the one who has been defeated, whilst ‘Cap’ is pencilled with an evident and energetic chip still upon his broad shoulders. In fact, the World War Two veteran is shown to be the far more dynamic and physical of the two men, with Stark appearing soberingly crestfallen in his treacherous triumph.

Writer: Brian Michael Bendis, Artist: Alex Maleev, and Color Artist: Jose Villarrubia

Hulk: Blood Hunt #1 - Marvel Comics

HULK: BLOOD HUNT No. 1, September 2024

Promising a “spine-chilling chapter of the Blood Hunt event”, this one-shot certainly should have pleased any Hulk-heads who picked the thirty-page periodical up from the spinner rack in the hope that it would both progress Bruce Banner’s quest to save poor Charlie Tidwell’s soul, as well as give them an insight into the Green Goliath’s adventures during the publisher’s vampire-filled crossover story-arc. Indeed, one of the narrative’s greatest strengths is arguably Phillip Kennedy Johnson’s ability to simply dip the audience’s toes into the undead blood-drinker’s worldwide invasion, without any of them needing to specifically own or encounter any of the numerous comic book’s covering the actual calamity; “Of course. The sun’s gone dark. They’re not trapped in the desert anymore, are they.?”

Much of this accessibility is undoubtedly due to the reader simply being able to witness the gamma scientist’s overnight stop at the Old West movie set of Old Tucson without any foreknowledge as to how he got there, and subsequently tremble at poor Miguel’s horrifying encounter with a coven of ghastly ghouls some fifty years earlier. This yarn, enthrallingly told by the somewhat elderly Mexican immigrant, is incredibly well-penned by the “Eisner-nominated writer”, and should genuinely tug upon the heart-strings of any one ‘hearing it’ for even the tenth time – especially when the poor boy’s mother sacrifices everything just so he has a chance to escape the Nosferatu’s underground lair.

Equally as enthralling as this book’s emotional journey though is the Hulk’s subsequent brutal battle against the vampires residing beneath the saloon’s creaking floorboards. Absolutely packed full of body horror, bone-breaking punches and innards-spilling slashes, this action-sequence is terrifically paced, with the founding Avenger desperately attempting to fend off his inhuman assailants with a pair of large, improvised wooden stakes.

Also throwing a well-stocked bucket full of grisly, internal organs into the mix is artist Danny Earls - who pencils some truly harrowing scenes of unwholesome slaughter. Foremost of these contributions is probably young Miguel’s terrifying escape from the hungry-horde who transform his entire family into the next generation of Arizona’s undead inhabitants. However, the Irish illustrator is just as proficient pencilling Banner’s initial fate at the hands of the Nosferatu, when they quite literally cut his belly wide open and witness Bruce’s alter-ego horrifically rise from the gory mess of his badly disfigured rib cage.

The regular cover art to "HULK: BLOOD HUNT" #1 by Nic Klein

Werewolf By Night: Blood Hunt #1 - Marvel Comics

WEREWOLF BY NIGHT: BLOOD HUNT No. 1, September 2024

Apparently spinning out of “the bloodiest event in Marvel history” Jason Loo’s narrative for Issue One of “Werewolf By Night: Blood Hunt” would certainly seem to live up to its publisher’s promise of providing the audience with an incarnation of the titular character “unlike any you have seen or known before!” But whilst a ferociously fanged shapeshifter is arguably always going to play an anti-heroic role in any comic book storyline, it’s debatably difficult to rally together any support whatsoever for a fiend who ends up quite literally eating his old school friends along with the vampire police officers he was trying to protect them from.

Furthermore, the entire premise of this publication’s plot, apart from allowing the Eisner Award-winner to “flex a dark, macabre writing muscle than my usual fare”, appears to be bemusingly based upon a group of feckless teenagers somehow summoning the demonically damned soul of Uncle Duke Jensen using a load of mumbo jumbo, a chalk circle and a coin. Just how the adolescent sorcerer Sam is able to achieve any of this wizardry is frustratingly never explained, with the Canadian author actually implying that the ‘kids’ were simply trying to hold a séance as opposed to rousing a full-blown, death-dealing devil.

Lastly, for those bibliophiles who are well-versed in the “Blood Hunt” crossover event, this twenty-five page periodical’s passage of time appears to veer badly off-track just as soon as Jake Gomez enters the Wild Dino Adventure Park whilst the sun is still setting – presumably therefore occurring before the Dark Dimension’s Darkforce blankets the planet in eternal night and allows the undead to rise from their crypts. The entire unholy ritual then only seems to take a matter of minutes to succeed in resurrecting Jensen. Yet it’s clear from the dialogue of the blood-drinking patrolmen who are drawn to Uncle Duke’s subsequent murder spree inside a now flaming fun factory, that they have been feasting upon the living for some considerable time (perhaps even days)..?

Quite possibly this “teen-horror” grindhouse’s greatest asset therefore lies in the layouts of Adam Gorham, who does a proficient job pencilling all the gratuitous, bodily mutilation which occurs within this comic. Indeed, whether it be the new Werewolf By Night waking up to find himself cuddling a severed leg, or Trevor’s ghostly relative incinerating a hapless stooge, it’s crystal clear from the artwork just why Loo would state beforehand that “you’ll need permission from your parent/guardian” to read this book.

The regular cover art to "WEREWOLF BY NIGHT: BLOOD HUNT" #1 by Davide Paratore

Conan The Barbarian: Free Comic Book Day 2024 - Titan Comics

CONAN THE BARBARIAN: FREE COMIC BOOK DAY 2024, May 2024

Evidently launching an event “which will roll out through late Summer and into the Fall”, this “all-new” Free Comic Book Day one-shot certainly seems to contain all the elements needed to prove a successful draw for devotees of Robert E. Howard’s creations. Indeed, it’s difficult to think of another twelve-page periodical which contains quite so many personalities previously penned by “the father of the sword and sorcery subgenre.”

Perhaps understandably leading this formidable roster is the late great novelist’s Conan the Barbarian, who is portrayed as valiantly fighting off a senseless suicidal Pict assault upon the freshly-established Aquilonian province of Conajohara. This ferocious skirmish, proficiently pencilled by “Jaunty Jonas Scharf”, is as blood-soaked as it well-written, and enjoyably depicts one of those rare moments where the black-haired Cimmerian actually faces a human opponent whose sheer physicality actually gets him to momentarily pause in his death-dealing; “Trees can be cut -- and my axe stands ready.”

Regrettably though, this gratuitous confrontation all-too suddenly concludes with the victorious titular character involuntarily recollecting his devilishly-tainted tales as witnessed in “Titan Comics” current ongoing series. Admittedly, in many ways this publication is just a blatant advertisement “to reach thousands of new and lapsed readers” anyway, so a summary of what an ill-informed bibliophile might have missed when Howard’s heavily-muscled mercenary first glimpsed the multi-tentacled ‘unspeakable evil beneath the dark waters of the past’ should perhaps be expected.

What comes next however is a total surprise, as Jim Zub’s narrative shows that the evil sigil seen by Conan hanging around his dead foe’s neck also haunts the likes of Solomon Kane, Dark Agnes De Chastillon, El Borak, Professor John Kirowan, and even disabled Twentieth-Century author James Allison – whose mysterious disappearance at the hands of some unseen monster conjured up by his imagination neatly bookends the comic. This notion of a single “Howardverse” won't be anything new to those familiar with the “Weird Tales” contributor's tales, as all of the stories concerning Allison are based upon the man recollecting his ancestor’s past experiences during the end of the Hyborian Age. Yet somewhat worryingly, such a potential mass-merging of so many genres into a single, over-arching plot debatably somewhat smacks of being ‘fan fiction’ as opposed to a serious continuation of the pulp fictionist’s numerous notable works.

Writer: Jim Zub, Artist: Jonas Scharf, and Color Artist: Jao Canola

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

Doctor Who: Free Comic Book Day 2024 - Titan Comics

DOCTOR WHO: FREE COMIC BOOK DAY 2024, May 2024

Apparently penned by Dan Watters whilst listening to English rock band “Adam and the Ants”, it’s pretty clear that the British author was having “a blast” whilst developing this opening instalment to “a brand new Fifteenth Doctor comic series from Titan Comics”. Indeed, despite some disconcertingly dark concepts concerning a viciously-fanged villain who bottles up the dying screams of people and stacks them upon a seemingly endless series of shelves, there’s still a distinctly good-humoured, rather jovial feel to the Time Lord’s trip back to a hangman’s gibbet in Eighteenth-Century Yorkshire. 

Much of this jocularity is undoubtedly caused by the twelve-page periodical quite wonderfully capturing all the energy and roguishness of actor Ncuti Gatwa’s televised portrayal. There’s a genuine joy to the Gallifreyan as he discovers a sound emanating throughout the space-time vortex, and excitedly decides to follow the noise to its source on Earth in the year 1739 A.D.; “All those places… someone’s trying to scare me.”

Such infectious enthusiasm is also on display when the Doctor subsequently encounters Dick Turpin, and wastes no time at all in climbing upon a nearby horse and riding the highwayman down. This tense chase sequence is the highlight of the comic, courtesy of the infamous robber attempting to blast the titular character to bits with a cyber-blaster. Yet its London-born writer still manages to inject some playfulness into the nail-biting action by having the leather-coated time traveller politely doff a semi-conscious soldier’s cocked hat at the start of the pursuit.

Equally as good as imbuing this book with the high-octane vitality of the science fiction programme are artist Kelsey Ramsay, and colorist Valentina Bianconi, who together quite wonderfully capture the physical likenesses of the show’s leading thespians. Admittedly, Ruby Sunday’s role within this particular plot is somewhat overshadowed by the Time Lord’s aforementioned heroic dash to recapture the ‘romanticised horse thief’. But nonetheless the graphic designer still manages to convey the courageous companion’s evident concern at being tied-up by the authorities in the mistaken belief that she is one of Turpin’s accomplices and should therefore be mercilessly hanged alongside him on the local gallows.

Writer: Dan Watters, Artist: Kelsey Ramsay, and Colorist: Valentina Bianconi

Dungeons & Dragons: Ravenloft Caravan Of Curses #1 - IDW Publishing [Part Two]

DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES No. 1, April 2024

Whilst similar-sized tomes to this “Dungeons & Dragons” anthology might well sag somewhat in the middle, such an accusation surely cannot be levelled against Amy Chase and Casey Gilly’s genuinely gross story to begin this book’s second half. In fact, it’s apparent obsession with a man-eating goddess and her self-harming cult of wannabe mothers probably walks a very fine line between completely captivating its readers’ attention, and causing many to simply put the comic down in disgust; “You must understand that to a child of Viktal, an outsider is no different from wild game.”

Foremost of these disturbing plot threads is that all the women must apparently pluck out one of their eyes if they want to become pregnant, or, in the case of Hesta Sinclove, consider sacrificing a close friend’s baby in order to have one of her own. Coupled with luring strangers to the village so the hapless visitors can be feasted upon, as well as the expectant protagonist developing a craving for bowls of blood, and this yarn is certainly not one for the squeamish, or a bibliophile anticipating having any sympathy whatsoever for the curse’s victim.

By far this comic’s least ghoulish tale is its finale, which somewhat unexpectedly attempts to tie together some of the loose threads left unanswered in its preceding gore-fest whilst simultaneously bringing the crone’s own adventure to a surprisingly sickly-sweet close. Indeed, it’s arguably not until the halfling mass-murderer Wilkis Nettlekettle makes an appearance some seven pages in, that the co-authors’ penmanship thankfully stops waxing lyrical about a carnival worker’s life tending goats, and finally settles down to telling “a new nightmare”.

Intriguingly however, it would seem that the owner of a blade which causes his own body to be cut whenever it is used to even just slice cheese, is an entirely appropriate punishment for its evil owner. And yet that doesn’t initially seem to stop Shortcrust’s owner from ridding the fiendish fellow of his jeopardising jinx so she can trick him into accepting an even worse fate than bleeding to death. This subsequent, shocking transference of ownership of the Caravan of Curses rather neatly brings the anthology to an end, albeit many within the audience may well be left wondering what crime the now rejuvenated Zhyl committed to have “seen all these years of evil” herself.

The regular cover art of "DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES" #1 by Sarah Stern

Dungeons & Dragons: Ravenloft Caravan Of Curses #1 - IDW Publishing [Part One]

DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES No. 1, April 2024

Described by “IDW Publishing” as “an oversized one-shot containing four terrifically terrifying short stories”, this hefty anthology certainly seems to start off well enough, courtesy of a truly torrid tale by Amy Chase and Casey Gilly which is initially set within Tenebrarum Woods. Indeed, if the cackling crone and her decidedly disconcerting maggot baby don’t instantly raise the heckles upon the back of its audience’s necks, then the quite literal buckets of blood which soon follow after the “gang of misfits” encounter the blue-hued Yvelda Bonnefoy, surely will.

Fortunately however, such a grotesque curse as having to pour and drink numerous teacups over brimming with ruddy-coloured gore, hasn’t simply been penned just for its sickening impact upon any perusing bibliophile. But is surprisingly central to an intriguing storyline of royal court politics that depicts a malicious mother-in-law determined to ruin her son’s marriage when he falls for a woman supposedly far beneath him on the social ladder; “The true purpose of the gift is removing any threats to your security and station. I care not for that little opportunist’s feelings.”

Far more flowery word-wise, and ultimately rather disappointing when it comes to the tale’s somewhat uncertain ending, is this comic’s look at an arrogant Elven actor who initially appears to have become the prey of a werewolf-turned-understudy. This deadly threat to Aster’s future becomes increasingly bleak when it appears that the thespian’s foe has deliberately infected him with a deftly placed scratch upon his right shoulder, and many a reader’s heart will surely beat a little faster when his boyfriend finds himself confronted by a pack of potential hungry lycanthropes in the claustrophobic darkness of the understage.

Somewhat frustratingly though, the possibility of a man-wolf or four massacring anyone is eventually shown by the Vistana witch as being an infuriating red-herring, after she swiftly deduces the true cause of the now rapidly aging artist’s dire predicament. Perhaps unsurprisingly, the performer appears eager for the hag to rid him of his unsightly, wrinkly flesh. Yet in doing so it arguably becomes unclear as to whether he will for at least a short time re-tread the boards with both vigour and youth, or rather unconvincingly has agreed to suicidally die there and then with simply an ageless countenance for the worms to marvel at.

The regular cover art of "DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES" #1 by Sarah Stern

Crypt Of Shadows #1 [2023] [Part Two] - Marvel Comics

CRYPT OF SHADOWS No. 1, December 2023

Penned by Declan Shalvey to “haunt new fans and long-time readers alike this Halloween season”, the second half of “Crypt Of Shadows” opens with a pulse-pounding piece depicting a heavily-fatigued Daredevil fending off a literal army of deadly ninjas in a long-abandoned subway system. Aptly entitled “…Without Fear”, the six-pager quite succinctly showcases both that there is much more to the blind crime-fighter than simply being a phenomenal acrobat, as well as taps into the horror of poor Doctor Ted Sallis’ never-ending existence as the lonely Man-Thing, after the desperate scientist injected himself with an experimental serum in order to save his life.

Also adding an incredible amount of bang for your buck to this tale is Alex Lins, who does a first-rate job in illustrating Matt Murdock’s ‘wear and tear’, along with the adrenalin-fuelled fighting’s frantic speed. Furthermore, the Eisner Award-nominee quite wonderfully captures the formidable, hulking presence of Horn-head’s plant-based fellow protagonist, imbuing the giant “marshy mass” with a sad, quiet presence which starkly contrasts with all the flames, death and destruction occurring around him; “Where some see devils, other see angels. And they should be guided toward heaven.”

Arguably swapping out a sizeable portion of petrifying plot for some good old-fashioned Marvel Team-up shenanigans is “A Soul Worth Hunting” by Sarah Gailey, which quickly pits Jack Russell and Bruce Banner’s unholy alter-egos up against the overconfident arrogance of (Last Son of) Kraven the Hunter. Played with all the hubris this anthology’s audience might expect of a Sergei Kravinoff clone, this yarn does a solid job in exploring another of the super-villains ostentatious hunts, only for it to ultimately fail because he’s underestimated the anger-fuelled rage of his opponent.

Extremely engaging to the eyes, courtesy of Eder Messias’ lavishly-pencilled layouts, the story never misses a beat, and is only debatably disappointing due to the ex-Sinister Six member being so quickly dispatched miles into the air by the incredible Hulk. Indeed, the adrenalin-fuelled action abruptly ends just as Werewolf By Night appears to be squaring up to Kraven for a memorable close combat clash in the woodland, and many a bibliophile was probably therefore drooling at the imminent scrap ahead – especially as the Wundagore Mountain-born warrior is armed with the seemingly deadly Empyrion blade!

Writers: Declan Shalvey & Sarah Gailey, and Artists: Alex Lins & Eder Messias

Crypt Of Shadows #1 [2023] [Part One] - Marvel Comics

CRYPT OF SHADOWS No. 1, December 2023

Apparently returning “with more chilling tales starring your favourite Marvel Heroes”, Steve Orlando’s “Brick By Brick” certainly seems to get this anthology comic off to a somewhat “Creepshow” flavoured start, courtesy of the Scarlet Witch encountering “a terrifying new villain called the Bricklayer!” Admittedly, a man-shaped monster created by having a possessed brick inadvertently lodged in his chest probably isn’t the most convincing of origin stories for a central antagonist. But the American author still manages to imbue the figure with a surprisingly palpable evilness which may well make readers want to see more of the Elderspawn in future adventures.

Furthermore, the sheer ickiness of this six-page shocker is also down to Paul Azaceta’s deeply disturbing layouts, which impressively capture all the terror a living building might cause when it decides to impale its occupants with numerous nails and the odd flying piece of masonry. Indeed, the facial injuries suffered by the students inside the Hudsonview Hostel is only bettered by the artist’s disturbing drawings of the Bricklayer himself – complete with mutilated torso and fast-balding bonce; “I can’t be cleansed, girl. Can’t be killed. I’m in the walls…”

Much more tongue-in-cheek, as an audience would probably expect from a yarn featuring the ‘Merc with a Mouth’, is “The Living And The Dead” by Cavan Scott. Initially appearing to be a titanic tussle between N'Kantu and an overzealous Egyptian magic-user, this battle inside the Buckler Museum of Human History becomes a thoroughly bemusing melee once Deadpool literally crashes the party, and inadvertently prevents the Living Mummy from defeating his foe before she can raise some of the building's other heavily-bandaged relics back to life.

Well sketched by Devmalya Pramanik, there's a genuine pulse-pounding pace to this tale as the Indian illustrator provides all the ancient wrappings with a swirling animation that bewitches the eye and only occasionally provides a glimpse of the rotting flesh beneath them. In fact, many a bibliophile will doubtless be disappointed that this ‘devilish delight’ isn’t any longer in length than half a dozen pages, due to the unlikely anti-heroic duo looking pretty good together, fending off the three-thousand-year-old cadavers of Zeeta with a mixture of wit, sorcery, throwing knives and bullets.

Writers: Steve Orlando & Cavan Scott, and Artists: Paul Azaceta & Devmalya Pramanik

Original X-Men #1 - Marvel Comics

ORIGINAL X-MEN No. 1, February 2024

Described by its New York City-based publisher as a celebration of “the X-Men’s Sixtieth anniversary with an original X-Men adventure by Christos Gage and Greg Land”, this one-shot certainly appears to contain plenty of action-packed elements to keep the majority of its readers entertained. Indeed, apart from some seriously contrived alternative universe hopping, which allows Professor Xavier’s earliest team of teen mutants to know everything that is going to happen to them in their future, the thirty-page periodical’s plot is loaded with great nostalgia, laugh out loud humour, enthralling drama, and even something of a surprise ending.

Foremost of these sense-shattering successes is surely the way the adolescent Angel and Iceman manage to convince their older counterparts that the poor choices they’ve made to help enslave Earth-696, have badly undermined the moral legacy of their long-dead mentor. So difficult an argument could so easily have caused this comic’s creators to become bogged down in multiple panels of dialogue-heavy discourse. However, the American author quite brilliantly circumnavigates any need for that by simply having proficient penciller Greg Land sketch Warren Kenneth Worthington III seeing the way his junior self is staring at him; “And all it takes is one look to see how much of a hypocrite sellout you are.”

Similarly as well worded are the reasons needed to persuade the likes of the grey-furred Beast and infatuated Cyclops of their evil-doings in the name of ‘saving the planet’. Gage neatly emphasises the fact that this villainous take on the X-Men are still good people at heart, and that they all secretly suspect their version of Phoenix is mentally manipulating them so as to shield them from any doubts their criminal actions are causing. This means each of the team members only requires a little ‘push’ back in the right direction to cause them to repent their villainous stance and team-up to tackle "one of the most powerful beings in the Marvel Universe."

Sadly, this book is therefore only arguably let down by its aftermath, which acts very much as a blatant advertisement for the upcoming mini-series “Weapon X-Men” – featuring ‘a multiverse of Logans banding together.’ Considering that this particular publication is supposedly a celebration of the mutant franchise’s aforementioned milestone, this unashamed incentive for bibliophiles to continue the storyline in a different title smacks of insincerity, and may well leave a bad taste in the odd fan’s mouth.

The regular cover art to "ORIGINAL X-MEN" #1 by Ryan Stegman, J.P. Mayer & Brad Anderson

What If...? Dark: Moon Knight #1 - Marvel Comics

WHAT IF...? DARK: MOON KNIGHT No. 1, October 2023

Described by its New York City-based publisher as being part of “a new series of stories in the classic Marvel What If? tradition…but with a darker twist”, Erica Schultz’s narrative for Issue One of “What If…? Dark: Moon Knight” probably didn’t strike its audience as being any more morbid or tragic than many of the other publications set in the alternate reality “outside the mainstream Marvel Universe continuity.” Indeed, in many ways the American author’s main premise to simply replace Marc Spector as the avatar of an Egyptian deity with a witness to his brutal demise is arguably pretty standard stuff when it comes to Marvel’s long-running heritage; “I am Khonshu, Every decision has infinite outcomes… and not all outcomes are positive.”

Happily however, that doesn’t mean that what follows the masked mercenary’s death at the hands of Raul Bushman is simply a play by numbers plot, with “the first woman to write a Spawn comic” swapping out both the now deceased schizophrenic titular character and his sinister lunar god for girlfriend Marlene Alraune, and the hawk-headed divinity Ra. This somewhat surprising switch is well-written, and actually allows the ghost of Spector to lurk in the background of everything which the female history graduate later achieves in her role as Luminary – Whether it be battling thugs in dark alleyways or holding expensive events, such as an auction selling Burundan antiquities.

Furthermore, the former art director does a great job in depicting both the small African nation’s murderous General, and his similarly abhorrent subordinates, as the book’s central baddies. Of particular note is arguably the confrontation between Marc’s successor and a lieutenant from the Burunda People's Defense Force, which has all the satisfying hallmarks of a bully getting his just comeuppance at Alraune’s hands when the braggart least expects it.

Equally as entertaining are artist Edgar Salazar and colorist Arif Prianto, who together do a great job in depicting all the high-octane action (and quite considerable heartfelt grief) Schultz’s script requires. In fact, one of the highlights of this thirty-page one-shot is the sheer chaos crafted during its opening, where guns are blazing, numerous bullets whizzing and a helicopter dramatically landing, all whilst an understandably distracted Moon Knight is fending off the colourfully-costumed Bushman.

Writer: Erica Schultz, Artist: Edgar Salazar, and Color Artist: Arif Prianto

Creepshow: Joe Hill's Wolverton Station #1 - Image Comics

CREEPSHOW: JOE HILL'S WOLVERTON STATION No. 1, February 2024

For those “kiddies” somehow able to navigate their way through twenty-four pages of abhorrent, expletive-laden dialogue, this comic book adaption/expansion of Joe Hill’s 2014 E-book set “in a dog-eat-dog world” probably never lived up to its pre-publication hype. True, the New York Times bestselling author’s narrative most definitely contains plenty of gratuitous violence and body horror thanks to a pack of hungry werewolves chomping their way through a number of hapless commuters and leaving their dinner scraps all over the place. But besides these momentary gore-fests, this “special presentation” overall is arguably far from convincing; “Americans don’t smell like cheeseburgers. We smell like winners.”

To begin with the sole reason for crooked businessman Saunders to even climb aboard a terrifying train to Wolverton Station is because there’s apparently no limousine drivers available in England to drive him to Buckinghamshire. This rather implausible national strike will surely test the audience’s willing suspension of disbelief straight from the start, and seems to have been crowbarred into the plot solely to ensure that the rich entrepreneur “obsessed with classic Horror memorabilia” uses a particular form of public transport.

Furthermore, the lead character appears unaware that the majority of passengers around him are actually hulking great werewolves, even when they’re ferociously feasting upon the innards of their partially disembowelled victims, or noisily chasing him through the carriages towards First Class. Such a lack of recognition really is quite bemusing, and appears especially strange once the fellow becomes both noticeably sickened and petrified by the numerous mass-murders occurring throughout his train ride. In fact, even after a close call with three ravenous lycanthropes near the toilet, the American still just returns to his seat beside a well-dressed man-wolf and continues with their earlier conversation.

Much more impressive is arguably Michael Walsh’s artwork, with the illustrator’s somewhat roughly-hewn sketches adding plenty of raw energy to the skin-shredding shenanigans occurring aboard the blood-soaked InterCity. Of particular note is how the penciller depicts Saunders becoming increasingly dishevelled physically as his nerve-jangling trip plays out, and he resultantly transforms from the arrogant, all-powerful tycoon into nothing more than a truly desperate taxi-fare who has unwittingly fallen into Sol’s grisly plan for revenge…

The regular cover art of "CREEPSHOW: JOE HILL'S WOLVERTON STATION" #1 by Michael Walsh

Creepshow: Holiday Special 2023 #1 - Image Comics

CREEPSHOW: HOLIDAY SPECIAL 2023 No. 1, December 2023

Most definitely succeeding in its mission “to put the fear in your cheer”, Daniel Kraus’ storyline for “Christmas Man” easily establishes a truly disconcerting foe to murderously stalk Santa Claus during the snow-laden season of giving. Indeed, considering the perfectly plausible background this terrifying tale’s supporting cast make up as to the motivation behind “the Abominable Snowman of the North Pole”, the toe-hungry monster genuinely sounds like something the American author has simply plucked from the mythical stories surrounding Saint Nicholas himself, rather than a foul fiend created specifically for this comic’s ten-page long plot.

In addition, artist Jonathan Wayshak needs a massive pat on the back for his engrossing pencils, which entertainingly incorporate the heavily-stylised sketches of little Esme to help illustrate the child’s traumatised thoughts as to what the fur-covered creature probably looks like in life as it remorselessly follows Father Christmas on foot. These scribblings genuinely help sell the increasing dread flowing through this fairy-tale's impressionable protagonist, and will also doubtless imbue the reader with all the confirmation they need that the child’s mean-spirited siblings have gotten their ‘just rewards’ once the heavily-fanged Yeti has mercilessly devoured all their feet before her very eyes.

Slightly less graphic in its telling, though still containing plenty of removed human body parts, is “Package Thieves” by James Asmus. This “cautionary tale about stealing the wrong parcel” is arguably a little slow in places as Holly becomes increasingly paranoid during her day-to-day thievery, and starts to strongly doubt her life of crime is as victimless as her overbearing partner, Joy, repeatedly claims. But once it becomes clear the pair are specifically being targeted by a homicidal Spirit of Christmas, the pace quite noticeably 'hots up' into a stomach-churning conclusion.

Disappointingly however, “lively” Letizia Cadonici’s layouts probably don’t help with the speed of this predominantly sedentary yarn either, courtesy of the Italian’s somewhat minimalist style (along with Francesco Segala’s colours) making all the figures rather flat-looking and lifeless. Indeed, even the touching despair in the face of a poor father desperate to buy a robot dog back from the woman who stole it from his front-porch, disappointingly lacks a lot of its emotional impact – something which just such a scene should definitely evoke considering its made crystal clear he only wants the toy for his hapless, hospital-bound daughter.

The regular cover art of "CREEPSHOW: HOLIDAY SPECIAL 2023" #1 by Guillem March

Murderworld: Game Over #1 - Marvel Comics

MURDERWORLD: GAME OVER No. 1, May 2023

Most certainly bringing “Arcade’s darkest game” to a close with a bit of a bang, authors Jim Zub and Ray Fawkes’ script for “Murderworld: Game Over” probably left many a reader with a rather sore head, thanks to their storyline containing a number of twists and turns which few will probably anticipate. Indeed, this periodical’s twenty-page plot is positively laced with so many surprising demises that by its end it is genuinely difficult to determine just who is going to survive the grand finale and grab the deadly tournament’s “big prize!”

Sadly however, for those bibliophiles able to step away from the insane murders, red herrings, and Life Model Decoy (LMD) units for a moment, the actual logic to some of this book’s happenings doesn’t arguably make much sense from the perspective of its ever-dwindling cast of characters. For example, having saved the last two competitors from the fatal clutches of a robot Moon Knight, it’s soon revealed that the survivors’ saviour Black Widow, is actually just another of the super-villain’s mechanical killers. This revelation would surely only astonish those long-term bibliophiles who have followed the multi-title yarn and knew that Natasha Romanoff was trying to discover the location of the illegal broadcast. Not the badly battered Alex Benavides or Marina Komarova.

From the participants’ perspective, all that has happened is that Arcade has senselessly dispatched another android to stop his previous LMD from ending their lives, so the new one can do it instead..? This situation debatably makes no sense whatsoever, yet somehow still tricks the eventual victor into feeling they need to check the fallen Avenger’s corpse for signs of life just in case his Hydra-sponsored comrade-in-arms has mistakenly brought an end to the super-heroine’s existence; “I let people die here in Murderworld. I killed so many by not helping. But they would’ve done the same to me. Am I wrong..?”

So bizarre a state of affairs also then leads into perhaps one of the publication’s biggest (and potentially unconvincing) shocks when the gambler-turned-adulterer bests an expert in martial arts and close combat in a straightforward fist-fight. True, the Russian agent had just been wounded in an explosion. But so too had Alex, and yet artist Lorenzo Tammetta still pencils the man with no known hand-to-hand fighting skills whatsoever still somehow strangling the supposedly highly-tutored Marina to an implausible death.

Writers: Jim Zub & Ray Fawkes, Layouts: Netho Diaz, and Pencils/Inks: Lorenzo Tammetta