West Coast Avengers [2024] #6 - Marvel Comics

WEST COAST AVENGERS No. 6, June 2025

Considering that Gerry Duggan’s script actually lives up to its pre-publication promise of pitting the titular characters against "Earth's Mightiest Heroes" in a hard-hitting punch-up, Issue Six of “West Coast Avengers” somewhat surprisingly probably still left many within its audience rather cold. True, the twenty-page periodical depicts a fascinating bout of fisticuffs between Storm and Blue Bolt – which stems from the pair deciding that their contest won’t be readily resolved if they simply rely upon their manipulation of lighting. But arguably something feels disconcertingly off with the way in which the American author handles all the different personalities involved.

Foremost of these criticisms is the Vision, whose arrogance actually rivals that of Tony Stark for the duration of this comic book. Indeed, the entire tense confrontation between the two sides is debatably due to the android distrusting his former team-mate’s decision to add Ultron to the Whackos’ roster, and belief that the former mass-murdering super-villain has somehow brainwashed the billionaire industrialist. This worry is certainly well-founded considering just how many times “the mechanical monstrosity” has attempted to kill the Avengers in the past. However, having been given total access to all the robot’s code, the synthezoid then tries to prove his fears are correct by actually taking over Hank Pym’s creation and making it strangle him almost to destruction..!?!

So extreme a move simply makes no sense, and is later made all the more preposterous when the Vision subsequently blames Tony Stark for being entirely responsible for it happening in the first place – even though Stark ultimately saves him from Ultron’s death grip by using one of his covert back-up plans for just such an emergency. Furthermore, doubtless the odd bibliophile’s head will be left spinning by Ororo Munroe’s bizarre decision to allow Tommy Watt to smack her straight in the mouth without making any attempt to stop him; “So -- No lightning. So how do you wanna go, then? Muskets? Chess? Wanna throw hands?”

Significantly more convincing than this comic’s penmanship are Ton Lima’s layouts, which whilst containing the odd, stiffly-posed protagonist from time to time, predominantly does a cracking job of showing the considerably-sized cast squaring off in pairs. Of particular note is surely the Wasp’s surprising appearance towards the story’s end when she is almost instantaneously transported from a Fashion Week Gala show to the Avengers’ Los Angeles Stronghold. This sequence is really well drawn and genuinely helps sell Janet Van Dyne’s ability to turn into a gun-toting, almost microscopic assassin in the blink of an eye.

The regular cover art of "WEST COAST AVENGERS" #6 by Ben Harvey

Ghost Rider/Wolverine: Weapons Of Vengeance Alpha #1 - Marvel Comics

GHOST RIDER/WOLVERINE: WEAPONS OF VENGEANCE ALPHA No. 1, October 2023

Packed full of spine-chilling supernatural shenanigans, and some truly disconcerting physical horror, most bibliophiles perusing Issue One of “Ghost Rider/Wolverine: Weapons Of Vengeance Alpha” probably agreed with its New York City-based publisher that its “hotshot writer” Benjamin Percy was indeed “a master at crafting hair-raising sagas for Marvel’s most hardcore anti-heroes.” In fact, those readers caught up with its narrative about “a demonic serial killer [who] is murdering innocent mutants” would be hard-pressed to find any faults with this thirty-one-page periodical.

To begin with, the American author decides to depict the titular characters’ “(never before seen!) first meeting” via a well-penned flashback, and in doing so transports this comic’s audience back to a classic era of the Uncanny X-Men, when Professor Charles Xavier was busy mentoring the likes of Colossus, Storm, Angel, Nightcrawler and Shadowcat. These scenes set “many years ago” genuinely tap into an ultra-nostalgic vein, and also help sell a significant plot twist when it at first appears that super-powered little Bram Straub will swiftly receive safety inside the School for Gifted Youngsters; “Nobody wants him… including the Orphanage he keeps returning to.”

Just as enthralling though is the terrifying creature which lurks within the poor boy’s soul and seemingly comes out whenever the youngster is disappointed or upset. Somehow able to readily defeat the most formidable of Logan’s team-mates within a matter of minutes, this giant, flame-headed entity readily grabs all the attention whenever it manifests itself – especially when his appearance results in the formation of a stomach-churning flesh column which consists of various hapless children’s twisted corpses.

Readily willing and able to assist Percy in this book’s storytelling is “acclaimed artist Geoff Shaw” of “Thanos” and “Guardians Of The Galaxy” fame. The illustrator does a first-rate job of making the ordinarily warm and welcoming X-Mansion as creepy as possible once tiny Straub crosses its threshold during an electrical storm. Whilst simultaneously prodigiously pencilling Johnny Blaze’s jaw-dropping attempt to break the record of jumping eighteen burning buses on a motorbike. In addition, the University of New Mexico graduate wonderfully captures both the fiery menace of the Ghost Rider and dangerous, quick-moving mannerisms of Wolverine, once the pair clash heads towards this publication’s end.

The regular cover of "GHOST RIDER/WOLVERINE: WEAPONS OF VENGEANCE ALPHA" #1 by Ryan Stegman

Ms. Marvel & Wolverine #1 - Marvel Comics

MS. MARVEL & WOLVERINE No. 1, October 2022

Rather enthusiastically proclaimed by its New York-based publisher as containing a team-up with “one of the Marvel Universe’s most lauded heroes in an oversized action-packed adventure”, this opening instalment of a three-issue saga certainly showcases both the body-morphing abilities and endearing characteristics which helped win Sana Amanat’s co-creation “the Hugo Award for best graphic story in 2015.” In fact, Kamala Khan’s innocent uncertainty as to just what is going on throughout the assault upon Central Park’s “crazy futuristic treehouse” rather nicely matches that of the audience, and thus arguably helps them share a common bond together as the storytelling progresses.

Of course, perhaps this comic’s biggest selling-point is the inclusion of Wolverine, as well as the rest of the highly popular X-Men, and Jody Houser’s writing definitely doesn’t disappoint in providing the mutant super-group with plenty of scintillating spotlight. Ever grumpy and willing to take a bloody hit just to get a deadly strike of his claws home, Logan clearly takes the centre-stage whenever the Canadian is featured in a pulse-pounding panel. Yet rather pleasingly, that doesn’t mean for a moment that mainstay team members Rogue, Marvel Girl, Cyclops, Storm and even the likes of Hisako Ichiki, aren’t also given plenty of robotic bug-busting action to get their teeth into whenever the opportunity allows.

Furthermore, the Eisner Award-nominee doesn’t simply settle for having the planet’s protectors effortlessly whip their miniscule opponents within moments, courtesy of Scott Summer’s devastatingly sweeping visor-blasts or Ms. Marvel’s all-encompassing “embiggened hands.” Instead, preferring for the protagonists to overcome their foes’ sheer weight of numbers with a well-thought out, coordinated plan involving Wolverine and Ororo Munroe; “I suppose it was too much to hope that my visit to Earth wouldn’t coincide with some sort of attack..?”

Equally as enthralling as the mysterious motivation behind the tiny, murderous machine’s Machiavellian mission are the excellent layouts of Ze Carlos and colorist, Erick Arciniega, who together provide this thirty-page periodical with plenty of attention-grabbing eye-candy. Indeed, the art team’s portrayal of its colourfully costumed female titular character is worth the comic’s cover price alone, especially once she starts using her great size to swat, stomp and splat as many of the metallic bugs as possible.

The regular cover art to "MS. MARVEL & WOLVERINE" #1 by Sara Pichelli & Federico Blee