Superman/Spiderman #1 - DC Comics/Marvel Worldwide [Part Two]

SUPERMAN/SPIDER-MAN No. 1, May 2026

Arguably providing part of the meat within this Superman/Spider-Man sandwich, Christopher Priest’s “Pages” is something of a surprisingly odd tale which attempts to show Peter Parker’s symbiote-suited alter-ego that he is actually a comic book character. Indeed, the entire premise behind this eight-page plot is that Superboy Prime requires “your friendly neighbourhood” crime-fighter’s spider-sense to help him find his own world from “inside one of millions of turning pages.”

Coupled with several mind-bending panels pencilled by Daniel Sampere which depict the unlikely duo flying through a vortex littered with various printed publications, as well as a somewhat bizarre appearance by the High Evolutionary as the villain of the piece, it’s doubtful that many within this yarn’s audience will find its narrative very satisfying. Furthermore, the tale frustratingly ends just as the pair settle their differences with one another’s motivations and decide to tackle Herbert Edgar Wyndham’s cybernetic form head-on; “If we take out Evo’s sentient armour, we might have half a shot at this…”

Unfortunately this stance of ending the story just as the lead protagonists form an understanding with one another also badly haunts Sean Murphy’s “Beyond The Cobwebs Of Tomorrow”, as it concludes just as a disconcertingly thin-looking Superboy, Batman (Beyond) and Spider-Man 2099 form an alliance to take down Lex Luthor “in the near future.” This five-pager genuinely has plenty of potential with such an intriguing roster. But then literally comes to a disappointing stop once the Kryptonian youngster decides to lead the trio off to find the ever devious owner of LexCorp somewhere in outer space.

By far this anthology’s biggest surprise though is surely “Jimmy Con Carnage” which rather unceremoniously plonks photographer Jimmy Olsen before J. Jonah Jameson at the Daily Bugle. Penned by Matt Fraction and drawn by Steve Lieber, this astonishingly brief anecdote initially appears to be a rather fun, tongue-in-cheek account of “Superman’s Pal” trying to get a picture or two of Spider-Man before he’s fired from his new job. However, things very quickly turn decidedly dark once the young man unwisely takes a stroll down a blind alley in Manhattan and is quite literally disembowelled to death by the mass-murdering Cletus Kasady/Carnage before his trademark Superman Signal Watch can update its firmware.

Writers: Christopher Priest, Sean Murphy & Matt Fraction, and Artists: Daniel Sampere, Sean Murphy & Steve Lieber

Superman/Spider-Man #1 - DC Comics/Marvel Worldwide [Part One]

SUPERMAN/SPIDER-MAN No. 1, May 2026

It’s probably a tough task to open up a publication specifically touted as celebrating fifty years of DC/Marvel crossovers. But Mark Waid’s “Truth, Justice And Great Responsibility” arguably does it rather well, thanks largely to its American author wasting absolutely no time in explaining how the two leading comic book franchises somehow share a merged existence together, and instead simply throwing his audience knee-deep into an enthralling adventure which sees Doctor Octopus and Brainiac joining forces to ensure that “world upon world will bow before the genius of Otto Octavius.”

Furthermore, the notion of the Daily Bugle’s photographer and Daily Planet’s reporter sharing an assignment together makes perfect sense, and logically allows the story’s protagonists to soon get into combat with their deadly adversaries. Splendidly sketched by Jorge Jimenez, these face-offs even contain a few surprises for fans of such team-ups, most notable of which is Superman encountering Doc Ock wielding a set of arms powered by synthetic Kryptonite; “I read about you… before the accident that turned you..! It’s not too late… to reform..!”

Similarly as scintillating has to be this anthology’s second yarn “The World’s Finest”, which rather cleverly follows the exploits of Lois Lane and Mary Jane as their beloveds battle a giant Sentinel-248. Penned by Tom King and dynamically drawn by Jim Lee, this nine-pager provides a genuinely intriguing insight into the lives of two of the central protagonist’s most beloved secondary cast members. Indeed, the sheer number of coincidences between the two characters is sincerely surprising as the women swap numerous notes with one another as to how dangerous their lives are.

In addition, the tale features a rather impressive cameo by Gambit, as the X-Man comes to both Spider-Man and Superman’s aid as they tackle their huge indestructible foe. However, this short-lived appearance by the smooth-talking Cajan mutant is also particularly welcome as it subsequently provides Lois with a wonderful moment in the spotlight as she scrambles around in her handbag for the set of playing cards she uses to gain detainee access with a guard at Stryker’s Island - a deck which is immediately put to good use by Chris Claremont’s co-creation, and brings the pulse-pounding punch-up to a suitably satisfying end.

Writers: Mark Waid & Tom King, and Artists: Jorge Jimenez & Jim Lee

Blood Hunters #4 - Marvel Comics

BLOOD HUNTERS No. 4, January 2025

Considering that this comic contains a rather bizarre scene in which Elsa Bloodstone sends Spider-Man away for his own ‘safety’, rather than have him help the already under-powered titular characters battle against the formidably strong Bloodcoven, it is hard to imagine many “Children Of The Night” enjoying Erica Schultz’s plot for Issue Four of “Blood Hunters”. In fact, there’s arguably quite a bit about the American author’s twenty-page narrative which doesn’t appear to make all that much sense as a logical storyline; “You are a waste of Unusual’s time creature.”

For starters, if Miles Morales is so desperately struggling to fight off some sort of overwhelming desire to drink blood due to all his team-mates’ open wounds, why isn’t the gore having a similar impact upon all the other vampires surrounding him, such as the cat Moggy..? This quite stark inconsistency appears to have been penned solely to ensure that the all-female group can subsequently be bested by Bloodstorm One and his cronies, and a helpless Dagger be carried off to a disused warehouse by her enemies.

To make matters debatably even more contrived though, the only reason Spider-Man is able to depart is because Ulysses Bloodstone’s daughter suddenly stops wanting to kill the Brooklyn-born teenager “who was bitten by a Genetically Altered Spider”, and surprisingly, temporarily sates his unhealthy thirst via the power of her Bloodgem. Such a dramatic reversal of the quite disagreeable woman’s attitude seemingly comes completely out of the blue, and also begs the question why the additional time she has bought Morales couldn’t have been used by him to batter the likes of Damascene and Smoke Eater, rather than swing away like a coward in the night..?

Likewise, a number of other manufactured moments are needed to implausibly fall into place to allow the Blood Hunters to locate their fallen friend, Tandy Bowen. Foremost of these is the decision by Dracula’s clone to simply have the three women tied up on roof-top and instantly be set free straight after the villains have teleported away. Just where the motivation for this compassion comes from is a real head-scratcher, considering all of the antagonists are mass murderers with a taste for blood. However, without this act of unconvincing clemency, there wouldn’t be any likelihood of a third act in which White Widow handily reveals she knows Dagger’s location because she bugged Cloak’s former partner beforehand.

Writer: Erica Schultz, Pencilers: Robert Gill & Chris Campana, and Inkers: Robert Gill & Cam Smith

Blood Hunters #3 - Marvel Comics

BLOOD HUNTERS No. 3, December 2024

Almost stupefyingly crammed full of sense-shattering action, mesmerising feats of demonic magic, and arguably more gore than you’ll ordinarily find in an “Rated T+” title, Erica Schultz’s storyline for Issue Three of “Blood Hunters” quite literally grabs its readers in an unbreakable neck hold and hammers them through an army of ravenous, mass-murdering revenants. Furthermore, the comic’s twenty-page plot does a terrific job in demonstrating just how deadly an opponent the villainous Bloodcoven can be when they’re not directly tackling the “Earth’s Mightiest Heroes” toe-to-toe, but rather a dysfunctional collection of the Marvel Universe’s more lower tiered crime-fighters.

Indeed, even “a vampirized Spider-Man” appears to be well out of his depth facing off against the likes of Cruel and a seemingly unstoppable horde of blood-drinking thralls, with only Hallows' Eve providing the titular team with any hope of victory whatsoever. Disappointingly, even this glimmer of light is eventually dimmed though, with long-time vigilante Dagger appearing to be the group’s surprising weak link, and so badly succumbing to the relentless undead assault surrounding her that she soon requires immediate medical treatment; “There’s a hospital twelve blocks away. I can swing her there fast.”

Fortunately, the decision to have poor Tandy Bowen’s brightly costumed alter-ego play the ‘patsy’ as opposed to non-powered White Widow, is easily overlooked in the face of the sheer carnage on show throughout this book, and many a bibliophile will doubtless have been physically worn out by the time Janine Godbe’s highly thematic bag of tricks sensationally brings the vampire army she is facing to a sudden, shocking end. Enjoyably however, this moment is simply the quiet before a (second) storm, with Miles Morales soon finding himself getting brutalised atop a New York apartment block whilst trying to protect a comatose Dagger.

Definitely providing all these pulse-pounding panels with plenty of dynamic life and “Wham” are Robert Gill’s pencils, which do a first-rate job in imbuing every blow with bone-breaking realism. In addition, the Billerica-born illustrator somehow manages to turn even the vampire cat Moggy into a believable combatant by sketching the stray animal doing its level best to outmanoeuvre Cruel’s tendril-like barbed wire projections.

The regular cover art of "BLOOD HUNTERS" #3 by Ema Lupacchino & Guru-eFX

Blood Hunters #2 - Marvel Comics

BLOOD HUNTERS No. 2, November 2024

Whilst it’s hard to say with any real certainty that Erica Schultz set out to make Elsa Bloodstone as utterly unlikeable as the American author could, she definitely appears to do just that with her writing for Issue Two of “Blood Hunters”. In fact, probably a fair few readers of this twenty-page periodical wanted the former “staff member of the Braddock Academy” to suffer a good beating or two at the hands of Miles Morales or Bloodstorm One's Bloodcoven, simply so the insufferable, holier than thou monster hunter could be taken down a few pegs; “I must say… I am disappointed with your performance…”

To make Dan Abnett’s co-creation even more unbearable though, once the self-righteous super-heroine does allow her bloated ego to once again get the better of her already questionable decision-making, and finds herself a captive of Smoke Eater, the member of the Midnight Sons quite outrageously thanks a wandering cat for rescuing her, rather than her true saviour – Spider-man. Such an utter disrespect for facts genuinely grates upon the senses, and arguably will leave many a bibliophile desperately hoping that Ulysses’ foul-mouthed daughter is ultimately abandoned by her team-mates for a far more agreeable character.

Quite possibly this comic’s only distraction from the selfish scoundrel comes with the intriguing Hallow’s Eve, who repeatedly demonstrates her bizarre ability to pull magically-enhanced masks from out of her scarlet-coloured saddlebag. These face-coverings really help add some extra surprises to the script, and despite being perhaps a little too gimmicky or contrived, definitely help lighten up an otherwise almost unbearably deplorable spotlight upon Bloodstone’s rude, all-knowing attitude towards anyone even remotely undead.

Furthermore, Robert Gill debatably does a first-rate job in depicting all of Elsa’s ill-placed misgivings, almighty lectures, and “all vampires deserve to be dusted” attitude with just the over-the-top conceit an onlooker would expect from some hot-headed show-off armed with a shot-gun. In addition, the artist’s layouts are great at imbuing scenes with either the confrontational stance or fast pace, pulse-pounding action which they require; most notably when Miles Morales sets aside any issues he has with his would-be-murderer to save her from another violent pulverising by Unusual of the Bloodcoven.

The regular cover art of "BLOOD HUNTERS" #2 by Ema Lupacchino & Guru-eFX

Blood Hunters #1 - Marvel Comics

BLOOD HUNTERS No. 1, October 2024

Proudly proclaimed by its New York City-based publisher as “the beginning of an epic new adventure” involving “Marvel’s newest team”, Erica Schultz’s script for Issue One of “Blood Hunters” certainly seems to live up to its hype due to the twenty-five page periodical’s pulse-pounding mix of roster rivalries and blood-sucking shenanigans. Indeed, the America author’s ability to almost immediately have Dagger and Elsa Bloodstone berating one another over the fate of the vampires which they catch is arguably one of this inaugural edition’s biggest highlights.

Similarly as intriguing though has to be the quite considerable spotlight shone upon Hallows’ Eve and her truly mesmerizing supernatural power to make magical masks. Apparently still exploring these abilities herself, the young woman dons the face of the original Wasp, and promptly takes the reader on an enjoyable trip down memory lane with Janet Van Dyne’s famous stings, and ability to quite literally grow into a full-thrown punch; “Damn limbo magic… Never know what I’m gonna get.”

“The first woman to write a Spawn book in the history of the franchise” is also rather good at penning the somewhat complicated power struggle occurring within the nefarious Bloodcoven since Bloodstorm One fully took charge following Varnae’s defeat. Dagger’s assumption that all the remaining pale-skinned vampires want their humanity restored is disconcertingly wrong, and this desire by some of the fanged despots to remain immortal at all costs establishes an enjoyably straightforward good versus evil stance between the two groups. In fact, in many ways it plays into Bloodstone’s somewhat erratic belief that the only good drinker of blood is a dead one – something which later causes Miles Morales’ infected Spider-man no end of problems when he becomes caught in the monster hunter’s crosshairs.

Rounding off this perfect publication are the layouts of Robert Gill, with colours by Rain Beredo, which do a first-rate job of showing just how dangerous the dark streets of Brooklyn can still be in the aftermath of Blood Hunt. Furthermore, the illustrator is very good at showing just how physically fast both the titular characters and their prey can move whenever they’re fighting one another, as well demonstrating some of the fascinating abilities of Blade’s former “super-vamps” – such as the sheer formidable bulk of Dracula’s heavily-armoured clone.

Writer: Erica Schultz, Artist: Robert Gill, and Colorist: Rain Beredo

Blood Hunt: Red Band #5 - Marvel Comics

BLOOD HUNT: RED BAND No. 5, September 2024

Despite comprising of more tie-in issues and spin-off limited series than your average Marvelite can shake a pointy stick at, this final instalment of “Blood Hunt” probably still felt somewhat rushed to many of its readers in July 2024. True, the super-sized thirty-three page periodical does manage to pull many of its numerous plot-threads together for a sort of satisfying resolution. But, having an infected Miles Morales prove to be the improbable hero of the day, when the likes of the mighty Thor, invincible Iron Man and Captain Marvel appear disconcertingly impotent, is arguably a bit of a head scratcher; “I had only one weakness, Avengers. The girl. The bloodline. And she’s not here.”

Furthermore, it’s not entirely clear whether Stephen Strange’s “dread bargain” with Doctor Doom actually has any impact upon the final result. Having successfully stabbed a possessed Blade through the chest with a sword, many a bibliophile probably felt the battle was already won, and that once the Daywalker was free of Varnae’s malign influence the Darkforce surrounding our planet would return to its own dimension. However, before such an event can occur Victor casts his pre-fall Atlantean spell, supposedly brings sunlight back to the half the world, and diabolically solidifies his stance as” Earth’s new, Superior Sorcerer Supreme” – which somewhat cynically leads into another “Marvel Worldwide” major event “coming in November…”

For those onlookers able to ignore these quibbles though, Jed MacKay’s penmanship certainly still delivers a pulse-pounding experience, with much of this comic focusing upon the Avengers' fisticuffs against the dread Bloodcoven. These toe-to-toe confrontations between some of the publisher’s most popular protagonists is genuinely enthralling, especially when the God of Thunder manages to finally summon Mjolnir whilst battling the first of all vampires.

Equally up to the task of pencilling all this adrenalin-charged action is Pepe Larraz, who should genuinely cause a few painful gasps from those witnessing poor Vision losing a limb in a truly horrific manner to Bloodstorm One. In addition, ably supported by color artists Marte Gracia and Fer Sifuentes-Sujo, the Spanish illustrator impressively manages to imbue the scenes featuring Doctor Strange with a noticeably different, though far from off-putting, ambience, which speaks of the ancient and powerful magic being depicted in the panels.

The regular cover art to "BLOOD HUNT" #5 by Pepe Larraz & Marte Gracia

Amazing Spider-Man: Blood Hunt #3 - Marvel Comics

AMAZING SPIDER-MAN: BLOOD HUNT No. 3, September 2024

Entirely focused upon the titular character’s exploits inside Hemoglobin Incorporated’s Headquarters, many a bibliophile will probably feel a considerable amount of time has passed between Issue Three of “Amazing Spider-Man: Blood Hunt” and its previous edition. In fact, the entire twenty-page periodical arguably reads like a couple of insubstantial instalments involving Justina Ireland’s overall narrative simply being smashed together so as to bring the storyline to something akin to a satisfactory conclusion in short order; “Another chance.? That’s closer to happily ever after than most of us get.”

Foremost of these complaints can seemingly be found straight from the comic’s opening, as Peter Parker’s alter-ego and Misty Knight brazenly break straight into the supposed vampire stronghold, and quickly reach both the scientific facility’s security computer room, as well as Doctor Michael Morbius’ laboratory, with barely a hair out of place. This breathtakingly fast momentum then continues with the revelation that Colleen Wing has been completely transformed into a deadly blood-drinking monster (and completely embraced this change), whilst “Morb” has somehow already discovered a cure for Theocritus’ undead vision – presumably due to him having access to “real equipment… for the first time in months.”  

To make matters worse though, the Living Vampire’s moral dilemma to remain working with the villainous corporation for the betterment of all fanged fiends is almost instantly resolved with an unconvincingly sudden change of heart following Spider-man giving him a brief flea in his ear. Such a surprising U-turn really does smack of the American author being desperate to get events in place for this comic’s climatic final confrontation, and subsequently leads directly into Web-head easily covering the coils of the building’s cooling system with an antidote as the so-called central antagonist absent-mindedly waxes lyrical about his grand scheme for citywide conquest.

Also distinctly adding to this publication’s feeling of two incomplete books being compressed into one are Marcelo Ferreira and Chris Campana sharing pencilling duties. This decision is incredibly jarring for the audience as the artists’ illustration styles are rather different to one another, and resultantly makes the publication’s already hasty ending feel even more rushed as the Wall-crawler easily outwits his beefed-up undead foes, Maxine Danger (once again) turns up out of nowhere to ‘save the day’, and despite being a feral force of nature for much of this tale, the Lizard dons a long white coat to become Morbius’ unlikely new lab partner.

The regular cover art to "AMAZING SPIDER-MAN: BLOOD HUNT" #3 by Marcelo Ferreira 

Blood Hunt: Red Band #3 - Marvel Comics

BLOOD HUNT: RED BAND No. 3, August 2024

Disconcertingly containing barely a punch in anger, Jed MacKay’s dialogue-driven and somewhat sedentary storyline for Issue Three of “Blood Hunt” probably didn’t live up to the expectations of an audience whose desire to read more about Blade’s vampire uprising made the title the “top advance-reordered comic book” in early May 2024 (at least according to “Diamond Comic Distributors”). True, the twenty-one page periodical does contain a savage attack upon the Avengers by a brainwashed Miles Morales inside the supposedly safe Sanctum Sanctorum. But this ferocious ambush is quickly quelled once Clea Strange traps the fanged fiend within the Crimson Bands of Cyttorak, and her deceased husband rids Spider-man of his devilish influence via the Eye of Agamotto.

Instead, the reader is subjected to several grand speeches throughout the Canadian writer’s script, with Sam Wilson’s twelve-panel tour-de-force as Captain America being the longest and most memorable of them. This repetitious rhetoric certainly has its place within the narrative, most notably poor Brielle Brooks’ reaction to discovering that her own father is at the heart of the planetary problem and discovering that Count Dracula plans for the young girl to assassinate her parent. However, to simply plonk one word-heavy discussion after another into a single edition completely saps any pace out of this publication’s plot, and quite literally leaves any bibliophile desperately wanting events to considerably move on just so both opposing forces can once again battle one another; “Do not presume to lecture me, Spider-Man, I will not let my one hope of victory just run away --”

Desperately trying to inject some energy into this lack-lustre lethargy is Pepe Larraz, who pencils some excellent shots of the chaos being caused by Blade's minions whilst Wilson waxes lyrical about the Avengers saying “No” to the vampires' demands. These pulse-pounding pictures cover a variety of locations, from Halifax and Manhattan through to the Sahara Desert and Mexico City, so resultantly do a good job of depicting the violence stretching right across the world. Yet, any momentum which they generate is then swiftly scotched by Carol Danvers spending what seems like an eternity singing Sam’s praises, and Eric Brooks unconvincingly having a major hissy fit because he feels the super-group should “lie down and die.”

The regular cover art to "BLOOD HUNT" #3 by Pepe Larraz & Marte Gracia

Amazing Spider-Man: Blood Hunt #2 - Marvel Comics

AMAZING SPIDER-MAN: BLOOD HUNT No. 2, August 2024

Considering that Justina Ireland’s handling of Theocritus and his decidedly dodgy dealings running Hemoglobin Incorporated are arguably far more entertaining than Spider-Man’s seemingly endless excursion through the vampire-filled streets of New York City, it’s probably safe to assume that Issue Two of “Amazing Spider-Man: Blood Hunt” didn’t land quite so well on the spinner-rack as perhaps its publisher had hoped. Indeed, so much of this mini-series’ rather intriguing exposition occurs within the walls of T.J.’s experimental laboratories that many a bibliophile doubtless found themselves a little frustrated whenever the spotlight shifts upon the titular character instead.

Much of this irritation is debatably due to Peter Parker’s somewhat tedious, self-indulgent doubts as to whether he should even be hurting the fanged-fiends stalking his not-so-friendly neighbourhood. The super-hero readily acknowledges that the massive undead horde will “hurt more people” the longer their battle goes on for. Yet still somehow manages to persuade the much less idealistic mercenary Misty Knight that the “ravenous throng” of killers shouldn’t be harmed; “I’ve been thinking about what you said… especially since I know these were innocent people.”

Furthermore, the action is suddenly brought to a surprising full-stop by its “New York Times Bestselling author” unconvincingly introducing the audience to Beyond Corporation’s former Chief Executive Officer - Maxine Danger. True, the capable young businesswoman’s presence is crucial to give Spider-Man a means of ‘defeating’ Theocritus, courtesy of a convenient computer virus which should “erase all of the networked data” and halt the vampiric company's chemical-based shenanigans. But considering just how deadly the Big Apple is supposed to currently be due to its undead invasion, it’s a little difficult to believe a non-powered entrepreneur, no matter how rich or influential, is able to successfully drive around the densely populated metropolis with just two bodyguards for protection.

Slightly more successful than its writing, is this comic’s artwork by Marcelo Ferreira and Chris Campana. This twenty-page periodical’s pencilling is very good at depicting the athletic prowess of Web-head as he somersaults around Central Park gluing down as many Nosferatu as his unblessed web fluid will allow. However, the attention to detail on the Lizard, especially the villain’s snout when sketched from any distance, is rather indistinct and lacking – leading to Doctor Curt Connor’s alter-ego actually seeming to be unfinished in some panels.

Writer: Justina Ireland, and Pencilers: Marcelo Ferreira & Chris Campana

Amazing Spider-Man: Blood Hunt #1 - Marvel Comics

AMAZING SPIDER-MAN: BLOOD HUNT No. 1, July 2024

‘Spinning directly out of Issue Forty Nine of Amazing Spider-Man’, this mini-series’ opening instalment perhaps unsurprisingly solely focuses upon Peter Parker’s enthralling excursions “in the era of the vampires”, as opposed to the Wall-crawler’s usual crime-fighting exploits throughout the 'Grid' of the Big Apple. But whilst this comic’s scenario is significantly more blood-thirsty than Web-head’s usual adventures, courtesy of some genuinely gratuitous depictions of hapless New Yorkers being slaughtered like sheep at the hands of numerous Nosferatu, Justina Ireland still manages to imbue the titular character with plenty of his famous tongue-in-cheek wit and repartee to persistently lighten the narrative's mood; “That is a lot of fangs.”

Much of this humour is surprisingly generated by Steve Ditko’s co-creation teaming up with the highly unlikely duo of Misty Knight and the Lizard, who essentially recruit Spidey to supposedly help them rescue Colleen Wing and Doctor Michael Morbius from the clutches of Hemoglobin Incorporated. Perhaps understandably distrustful of his allies’ true motives, as well as realising the deadly gravity of their potentially suicidal mission, the colourfully costumed vigilante appears ever ready to diffuse even the deadliest of situations with either a well-timed quip or barbed comment at his companions’ oft-times suspicious behaviour.

Of course, the biggest draw of this twenty-one page periodical are the layouts crafted by Marcelo Ferreira, Roberto Poggi and Rachelle Rosenberg. Together, this creative team really help bring the insane world of “Blood Hunt” to life, whether it be depicting a seriously formidable-looking Lizard savagely squaring off against an already ticked-off Spider-Man, or the aforementioned poor inhabitants of New York City sadly succumbing to the sharp teeth of the undead in their droves. In fact, the sheer scale of this event’s “eternal night” is really driven home to the audience through this book’s top-notch artwork, with homes, hospitals, tube stations and even churches being viciously attacked.

Impressively though, this comic’s nine-page ‘secondary’ tale is just as good at keeping the reader thoroughly entertained, courtesy of Wing and Morbius desperately attempting to escape the evil clutches of Theocritus themselves. Essentially a well-paced sub-plot which shows the duo tensely exploring Hemoglobin’s headquarters in an effort to find a way out, the pair’s nervous verbal exchanges are easily as enthralling as the adrenalin-fuelled action that kicks off when they inadvertently walk into a room packed full of momentarily shocked vampires.

The regular cover art to "AMAZING SPIDER-MAN: BLOOD HUNT" #1 by Marcelo Ferreira & Rachelle Rosenberg

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

Blood Hunt: Red Band #2 - Marvel Comics

BLOOD HUNT: RED BAND No. 2, July 2024

Pitching the surviving Avengers alongside Count Dracula himself in a highly unlikely team-up against a planetwide invasion of vampires, Jed MacKay’s script for Issue Two of “Blood Hunt” certainly seems to strike a much brighter note as to the Earth’s future fate than this summer event’s deeply dark preceding instalment. In fact, the absolute beating the likes of Bloodstorm One and Megrim take at the hands of Captain Marvel, the Vision and Captain America probably caused the odd reader to leap to their feet in order to cheer the protagonists on; “Here’s our philosophy: We have a lot to avenge.”

Enjoyably however, this twenty-one page periodical’s plot doesn’t simply rely upon an insane action sequence packed full of face-pummelling fisticuffs to entertain either, as the Canadian author also pens some intriguing plot progressions into the comic too – most notably the fact that Doctor Strange is still alive as a wandering spirit despite being disembowelled by Blade. These ‘quieter’ moments are especially impressive as they both provide the writer with an opportunity to bring any bibliophiles unwilling or unable to peruse the almost overwhelming number of tie-in titles bang up to speed with the overarching narrative, as well as provide a modicum of spotlight upon some of the Marvel Universe’s lesser known characters, such as Hunter’s Moon and the Daywalker’s daughter, Brielle Brooks.

Of course, it’s the aforementioned rematch between the “broken” Earth’s mightiest heroes and the Bloodcoven which most Marvelites will probably enjoy though. Having previously defeated the “all-star” supergroup, the vampiric villains are quick to forget that they had a distinct advantage over their opponents in their first fight, courtesy of a thorough briefing and the element of surprise. This time round the creatures of the night have no such benefits, and resultantly their arrogance is quickly silenced by the Vision’s ability to harness the power of solar energy.

Equally as intrinsic to this mini-series’ storytelling as MacKay’s contribution are the lavish layouts provided throughout by Spanish illustrator Pepe Larraz and Mexican colorist Marte Gracia. Together, the two artists genuinely depict a visual feast for the eyes, with perhaps Carol Danver’s socking Vlad Dracula’s gigantic clone squarely on the jaw being this apocalyptic publication’s most noteworthy smackdown.

The regular cover art to "BLOOD HUNT" #2 by Pepe Larraz & Marte Gracia

Daredevil [2022] #1 - Marvel Comics

DAREDEVIL No. 1, September 2022

Excitedly proclaimed “an all-new era of Daredevil” by its New York City-based publisher, Chip Zdarsky’s storyline for this opening instalment of “The Red Fist Saga” was probably rather positively received by the majority of “Hornheads” in July 2022, as the twenty-page periodical contains a plethora of fascinating plot-threads for them to follow. In fact, it’s arguably difficult to keep track of so many competing narratives, whether it be “Hell’s Kitchen’s guardian devil” departing his stomping ground for the last time, an old law school friend shockingly becoming a seemingly omnipotent villain, or a genuinely scruffy-looking Matt Murdock being repeatedly questioned by a mysterious ‘out-of-shot’ interviewer/interrogator.

Perhaps the most eye-catching scenes though, are those involving your friendly neighbourhood Spider-Man - who both webs his way into an altercation between the Man without Fear and Butch Pharris, as well as accompanies the costumed acrobat on a nocturnal rendezvous with Hammerhead’s criminal organisation. Oozing an almost palpable aura of desperately restrained savagery in their conflict with Wilson Fisk's son and the opposing sides' subsequent stand-off, these extremely tense skirmishes are perhaps only slightly marred by the brevity of their actual coverage in the comic book. 

Given much more 'screen time' is a genuinely depressing demise of a man who is cold-bloodedly shot simply for being in the wrong place at the wrong time, and then Robert Goldman’s aforementioned revelation as some all-powerful 'angel' who plans to look out for the blind lawyer. Pencilled by “superstar collaborator Marco Checchetto”, these events undoubtedly come as something of a surprise to the reader and set-up a captivating confrontation between the two former attendees of Columbia University which helps end the publication with a bit of a bang.

Similarly as sense-shattering is this comic’s secondary tale, “The Island”, featuring Elektra Natchios and Stick. Energetically sketched by Rafael De Latorre, and depicting the two martial arts experts initially tackling a heavily-armed contingent of Soviet Special Forces, before they turn upon each other. This ten-pager is debatably perfect in its mixture of adrenalin-fuelled action and tantalising mystery as to just why Murdock plans to build a secret base in the middle of nowhere.

The regular cover art to "DAREDEVIL" #1 by Marco Checchetto & Matthew Wilson

Daredevil: Black Armor #2 - Marvel Comics

DAREDEVIL: BLACK ARMOR No. 2, February 2024

Barely allowing any member of its audience to pause for breath, this return to Hell’s Kitchen by D.G. Chichester certainly seems to carry the reader along for one exhilarating roller-coaster of a ride, courtesy of its opening potentially promising the adventure to come will tap into the popularity of the Amazing Spider-Man and the web-spinner’s super-popular Seventies’ series “Marvel Team-Up”. Sadly for some though, Peter Parker’s colourfully costumed appearance is simply a short-lived cameo. Yet no sooner has the wall-crawler departed than the American author hurls Daredevil into a vicious fist-fight against both the Hobgoblin and Sabretooth.

This somewhat one-sided battle is particularly well-penned, as alongside the antagonists’ deadly attacks, Matt Murdock must also desperately try to save a train-load of kidnap victims who appear destined to die deep below ground at the whim of “a mysterious foe whose powers trump them all!” Indeed, many a bibliophile’s brain may soon start spinning in bemusement during this action-packed sequence as the blind human mutate juggles all these distractions simultaneously as he continues to investigate just where beneath the Big Apple the fast-paced metro is taking its “scores of vulnerable New Yorkers.”

Equally as enthralling however, is this twenty-page periodical’s momentary pause to focus upon the imprisoned plight of the Fantastic Four’s famous arch-nemesis, Harvey Elder. Intriguingly written as a victim of his own grand designs and his poorly-judged alliance with “one of the leaders of the Hydra terrorist organization”, the muzzled Mole Man’s predicament as a captive may not initially garner all that much sympathy. But it’s clear from Daredevil’s reaction that the super-villain’s sway over the Moloids may well prove to be the solution to the hero’s deadly dilemma in the long run.

Likewise, Netho Diaz’s dynamic layouts ensure that all Chichester’s sense-shattering shenanigans are wonderfully brought to life. The aforementioned scrap between the titular character and the Hobgoblin is a particular highlight of this comic, with the “mainstay at Marvel Comics” beautifully pencilling the strain upon Murdock’s face as he dutifully attempts to save the innocent, whilst batting away numerous pumpkin bombs with his batons; “That ride of yours seems dangerously unbalanced.”

The regular cover art to "DAREDEVIL" #2 by Mark Bagley & Romulo Fajardo Junior

Murderworld: Spider-Man #1 - Marvel Comics

MURDERWORLD: SPIDER-MAN No. 1, February 2023

Taking the somewhat surprising route of focusing upon side-character Eden Abraha, as opposed to actually living up to its title and containing an actual story featuring Peter Parker’s alter-ego, Spider-Man, this “chaotic contest filled with treachery and tragedy from the minds of Ray Fawkes and Jim Zub” probably still landed reasonably well with its audience on account of the Mixed Martial Arts (MMA) Fighter’s personality being penned so well. Indeed, the level-headed contestant’s sound-thinking and willingness to temporarily surround herself with similarly-skilled competitors arguably makes for compelling reading, especially when she appears to even go so far as to battle one of Arcade’s murderous robotic web-spinners one-on-one in a seriously “ballsy move.”

Similarly as well written though is this twenty-page periodical’s supporting cast, which despite being quite substantial considering this comic’s sizeable kill count, still manage to project plenty of individualism. Of particular note has to be Vincent, who alongside being “old enough to be my dad”, brings with him some formidable survival skills and a canny knack of utilising Murderworld’s mechanical devices to his advantage; “Whoa! Did that old fart disarm one of our survival pack bombs and keep it hidden?! What a champ!!!”

Furthermore, all these sense-shattering shenanigans are imbued with plenty of raw energy, courtesy of Farid Karami and (colour artist) Chris Sotomayer’s lively layouts. The illustrator’s ability to palpably project all the horror slowly dawning upon many of Arcade’s naïve challengers makes for some utterly enthralling storytelling. Whilst the artwork’s bright palette wonderfully captures the suggestion that all the killings are truly taking place beneath the bright lights and cameras of the villain’s criminal organisation.

Sadly, what is disappointing about Issue One of “Murderworld: Spider-Man” is surely the complete absence of this book’s main headliner, with its authors pulling a major ‘bait and switch’ stunt by having Arcade deploy several automatons replicating the wall-crawler’s famous super-abilities instead of including the genuine article himself. Admittedly, this “web of death” certainly creates some enjoyable, high-octane action sequences, as well as a little dark humour when a ‘boring botanist’ has his mouth sealed shut with webbing whilst pontificating about “the lay of the land”. But the ‘fraud’ still must have annoyed many a bibliophile, even if the Black Widow’s sudden appearance midway through the publication, proves a compensatory surprise.

Writers: Jim Zub & Ray Fawkes, Artist: Farid Karami, and Color Artist: Chris Sotomayor

The Amazing Spider-Man [2022] #5 - Marvel Comics

THE AMAZING SPIDER-MAN No. 5, September 2022

Ending “the first arc of this historic new volume” of “The Amazing Spider-Man”, this twenty-page periodical arguably still proved something of a good jumping on issue for those Wall-crawling fans unsure of Zeb Wells’ pedigree writing “one of the most popular and iconic comic book superheroes of all time.” Indeed, courtesy of its narrative exclusively focusing upon the fall-out of Web-head single-handedly destroying the Rose’s criminal organisation, this particular edition actually makes quite an enjoyable stand-a-lone instalment of the ongoing series.

For openers, the American author rather enchantingly uses the green-skinned villain Vegas Thirteen as an intriguing, and somewhat tongue-in-cheek, bookend, who not only helps illustrate just how disastrously far Richard Fisk has fallen from power. But also suggests at the end that perhaps the Schemer’s sole-surviving henchman may still be in a position to win back some of his boss’ lost turf before he’s been released from police custody; “Digger found us! We got nothing that can stop him! We’re losing everything!”

Similarly as proficiently penned is arguably the “Robot Chicken” director’s depiction of the forimably-powerful criminal Maggia, with a victorious Tombstone still being unwilling to risk the wrath of his surviving peers if they ever get wind of his ‘close relationship’ with Peter Parker’s alter-ego. In fact, despite this sadly somewhat short-lived meeting of the marvel Universe's mafia almost being suffocated out amidst some much more action-packed sequences, the ‘sword of Damocles’ it creates above Alonzo Lincoln’s head remains in play for the rest of the comic - especially towards its end when Spider-man surprisingly appears at the albino’s home and threatens to reveal all to the likes of Madame Masque.

Definitely providing the brutally battered titular character with some disturbingly visible facial bruising is artist John Romita Junior, who manages to help sell a good deal of this book’s tension with just a look in each character’s eyes. Furthermore, the Eisner Award-winner does a very good job in illustrating both Digger’s pent-up anger and frustration, as well as the hoodlum’s concern that the Rose will “hunt me to the ends of the Earth when he gets out”, even when it’s done via the “Gamma-irritated being” humorously tossing a half-eaten ice cream cone out of a car before his employer sees him.

Writer: Zeb Wells, Penciler: John Romita JR., and Inker: Scott Hanna

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

The Amazing Spider-Man [2022] #26 - Marvel Comics

THE AMAZING SPIDER-MAN No. 26, July 2023

Touted by “Marvel Worldwide” as far back as February 2023 as being “a heartbreaking issue that will have fans everywhere talking”, this thirty-one-page periodical definitely throws its audience straight into the deep end with a sense-shattering opening which features Spider-Man squaring off against the seemingly all-powerful Doctor Benjamin Rabin. True, those unfamiliar with the “monumental story unfolding” during Zeb Wells’ current run on this title might momentarily be scratching their heads in confusion at Norman Osborn’s Gold Goblin alter-ego, and Mary Jane Watson’s surprisingly intimate long-term relationship with “the mysterious Paul”. But a quick perusal of this book’s introductory synopsis arguably provides enough plot threads for the vast majority of this comic’s readers to hold onto as they’re pulled through a narrative packed full of super-heroes, maniacal monsters and edge-of-the-seat chases down debris-filled alleyways. 

Furthermore, the “Annie Award-winning writer” does a sound job of further filling in some gaps for the ‘uninformed’ via a series of flashback sequences featuring Kamala Khan’s job interview at Oscorp Tower, as well as an understandably tense confrontation between Peter Parker and his former wife when she reveals the new love of her life is actually the murderous Emissary’s son. These insights genuinely help explain some of the characters’ motivations during this publication’s climatic battle and coupled with the somewhat antagonistic exchanges between Web-head and the Fantastic Four, suggest just how much of an arduous journey the Wall-crawler has been on during his efforts to rescue Watson; “Maybe a thank you is more appropriate. Reed whipped together a flying car just to come help you.”

Debatably this comic’s greatest asset though, alongside Wells’ thoroughly engrossing penmanship, is John Romita Junior’s pulse-pounding pencilling, which marvellously captures all the ferocity of the battle taking place in New York City. Whether it be the fast-paced flurry of fists smacking into the Scribble-man from a variety of super-powered sources, or the incredibly well-drawn giant Xibalba dragon summoned to aid Rabin in his deadly death march, the artwork is a veritable feast for any bibliophiles’ eyes. Indeed, it’s arguably difficult not to actually feel the heat emanating from an incredibly angry Spider-man as he desperately batters his evil foe within an inch of his life with a parking meter or hear Ms. Marvel’s final, choking breaths as she ultimately sacrifices herself to save both the world and Mary Jane.

The regular cover art of "THE AMAZING SPIDER-MAN" #26 by John Romita JR

The Amazing Spider-Man [2018] #23 - Marvel Comics

THE AMAZING SPIDER-MAN No. 23, August 2019

Whilst Nick Spencer’s narrative for this “Hunted epilogue” debatably delivers when it comes to neatly sowing up the multi-issue event’s numerous outstanding plot-threads, the overall tone of the former politician’s penmanship, as a highly agitated Spider-Man desperately rushes back to Mary Jane’s flat to supposedly save her life, probably still struck many a bibliophile as being a little disconcertingly flat. True, Peter Parker’s love interest has indeed shockingly splattered her blood across the carpet as a result of a decidedly nasty injury, but the gory wound is disappointingly revealed to be as a result of the woman accidentally tripping over the laundry rather than her being attacked by a deadly super-villain.

Equally as disinteresting is arguably the American author’s handling of “an army of costumed criminals” who have suddenly “been set free in the middle of Manhattan.” This potential wave of violence could easily have become the basis of a storyline in its own right, as the cold-hearted killers make a dash for their liberty and perhaps to have their revenge upon some of New York’s outnumbered finest. However, quite miraculously, their escape occurs just as the likes of the “Earth’s Mightiest Heroes” and Fantastic Four show up to quickly wrap things up within the space of a handful of panels; “So yeah, bad guys of all shapes and sizes getting what they deserve. And hopefully that sticks this time --”

Quite possibly this publication’s saving grace therefore lies in the funeral of Kraven and his distraught son’s subsequent acceptance of his father’s name and heritage. Initially enraged by Sergei Kravinoff’s death and visibly reluctant to follow in the big game hunter’s footsteps, this intriguing emotional piece surely must have whetted the appetites of Spider-Man fans everywhere as to the pair’s future confrontations in print.

Just as frustratingly inconsistent as the writing though is Ryan Ottley’s pencilling, which despite being well-drawn in many places, such as Parker’s dynamic entrance into Mary Jane’s apartment, appears frightfully angular looking in others. Indeed, the panels portraying She-Hulk smacking Antonio Rodriguez’s alter-ego Armadillo straight in the jaw as the Avengers make a triumphant appearance, and an incarcerated Vulture re-establishing the Sinister Six, could well be mistaken for having been sketched by an entirely different artist.

Writer: Nick Spencer, Penciler: Ryan Ottley, and Inker: Cliff Rathburn