DC Vs. Vampires: World War V #12 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 12, November 2025

Considering just how merciless Darkseid’s final assault is upon the combined human and vampire survivors, it should come as no surprise to this mini-series’ audience that Matthew Rosenberg’s narrative for Issue Twelve of “DC Vs Vampires: World War V” races along a truly ferocious pace. Yet whilst some bibliophiles may well be merrily carried along with the likes of Swamp Thing nobly sacrificing himself to help feed Cyborg’s so-called miracle weapon, others may well start scratching their head in wonder as to why Kara Zor-El didn’t just pull the Earth closer to the Sun in the first place.

Indeed, this simple solution, admittedly ably aided by Alfred Pennyworth’s Green Lantern ring and some enormous chains, appears so conveniently sudden that it surely would have occurred to some of DC Universe’s bigger brains well before a treacherous Wonder Woman decides to once again murder every single surviving super-hero on the planet..? “Very clever, Supergirl. The sunrise. It is the one thing I missed, Ollie. We’re both warriors. Did you ever think about what you’d do when your war ended?”

Disappointingly however, the American author also decides to blast his readers with a bucket full of bemusing gobbledygook which luckily spurs “the tyrannical ruler of the planet Apokolips” to foolishly take matters into his own hands. Just how Harley Quinn’s Flash-powered robot works is never actually explained, nor why Alec Holland’s massively mutated alter-ego needs to physically possess Mammoth before nonchalantly walking into the automaton's razor-sharp blender. Instead, any onlookers are just told to trust the memories of the former molecular botanist, and accept that by attaching “billions of microscopic biodegradable shells” to “billions of deadly protein strands”, Swamp Thing will somehow kill the New God’s entire invasion force.

Far less manufactured, though just as frantic, is this publication’s secondary story “Heartland” by Andrew Klein. Featuring the Haunted Tank as its unlikely protagonist, this eight-page plot packs a surprising amount of adrenalin-fuelled action, and also provides an interesting insight into Sergeant Jeb Smith’s exploits during the initial Vampire uprising. Impressively drawn and coloured by French Carlomagno, the yarn has an almost animated cartoon look to it, and should certainly convince many who bought this comic to demand the Light M3 Stuart Tank's adventures continue in its own limited series.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #12 by Otto Schmidt

DC Vs. Vampires: World War V #11 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 11, September 2025

Featuring plenty of perilous partnerships and treacherous double-dealings, as well as some seriously hazardous treks across the Earth’s most inhospitable landscapes, many readers perusing Issue Eleven of “DC Vs Vampires: World War V” were probably exhausted once Matthew Rosenberg’s twenty-four page plot concluded. In fact, by the time a visibly emotional Alfred Pennyworth shockingly sacrifices the highly unreliable Robin to save Humanity’s last chance of a treaty with the surviving super-powered blood-drinkers, quite a few bibliophiles will doubtless genuinely feel as if they’ve been physically battling the New Gods and Darkseid themselves.

Much of this palpable fatigue is arguably created by the publication’s sheer pulse-pounding pace, which doesn’t seem to let up even after the likes of Lois Lane, Steel and the Atom have safely been brought to the Spectre’s secret hideout. Initially, this particular moment of respite appears to be about to get boringly bogged down in exposition as to just how the “tyrannical ruler of the planet Apokolips” can be defeated. However, due to the American author’s use of the utterly zany Harley Quinn, the actual explanation of Nightwing's "great alien-killing machine" is surprisingly delivered rather energetically; “What kind of doctor is she?”

Similarly as entertaining though is Wonder Woman’s escape from the New Gods’ clutches, after cold-bloodedly decapitating the unwisely over-confident Mistress Gilotina in a trial by combat. It’s crystal clear that this mini-series’ heroes would be very wise not to trust the demonic vampire who now claims the crown over all other Nosferatu. But dead Diana’s transformation from a badly beaten plaything of Darkseid back to an arrogant exterminator is quite wonderfully penned, and makes Black Canary’s agreement to work alongside her all the more dangerous for mankind.

Just as successful as this comic’s largely dialogue-driven writing is Otto Schmidt’s pencilling, which appears to go to great lengths to show the audience just how utterly exhausted (and emaciated) any person still alive is. Of particular note is the artist’s tremendous work sketching the sizeable cast’s myriad of faces – all of which show a vast range of emotions, feelings and reactions with just a few simple lines here and there. Furthermore, the Siberian illustrator does a cracking job in Wonder Woman’s aforementioned return to power, with just the Amazonian’s eye slits alone projecting the tremendous damage the mass-murderer could inflict upon any mortal if she was inclined to do so.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #11 by Otto Schmidt

DC Vs. Vampires: World War V #10 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 10, August 2025

Largely focused upon the exploits of Mister Miracle, as Jack Kirby’s creation ponders whether to surrender himself to Darkseid or not, there’s an almost palpable feeling to this twenty four-page periodical’s plot that Matthew Rosenberg’s mini-series is (finally) approaching its cataclysmic conclusion. Indeed, just the physical presence of Scott Free appears to be enough to bring several of the title’s overarching storylines together – including the up-until-now entirely separate sub-thread of Batman and Green Lantern banding together so as to summon the likes of Constantine and Doctor Fate back from beyond the grave.

Furthermore, Issue Ten of “DC Vs Vampires: World War V” also impressively shows a genuine war weariness to all its considerable cast, both mortal and blood-drinker, with many a character now apparently willing to do just about anything to convince “the tyrannical ruler of the planet Apokolips” to leave the Earth once and for all. This utter exhaustion is particularly startling when seen in the behaviour of Supergirl and Lois Lane, who have both fought tooth and nail to see themselves and their compatriots survive. But are now shown unhappily ‘bending the knee’ in supplication before the super-villain; “I don’t want to either. But it’s a small price to pay, Lois. We can end this here.” 

By far this book’s best moment though actually comes completely left field with the New Gods shockingly switching sides and ambushing Gorilla Grodd’s combined army. Such treachery is as sudden as it is astounding, and should actually make many a reader rather cross at the hypocrisy of a gutless Orion – who infuriatingly even tries to justify his duplicity by claiming an alliance with his mass-murdering father is supposedly in the galaxy’s best interests.

Clearly revelling in all this disheartening deceit and fatigue is Otto Schmidt, whose prodigious pencilling does a first-rate job in depicting the lethargy slowly infecting the planet’s fast-dwindling population. Of particular note has to be the freelance illustrator’s magnificent portrayal of poor, physically depleted Black Alice, whose haunted eyes alone convey all sorts of terrifying tales in the mind’s eye. In addition, the sheer outrage splashed across Kara-El’s face when she realises her cause has been betrayed by her latest allies is absolutely palpable, and it’s easy to see why even the vampire’s most ferocious fighters fear the Kryptonian.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #10 by Otto Schmidt

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DCeased: War Of The Undead Gods #8 - DC Comics

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

Poignantly penned straight from its start, this “final, cataclysmic conclusion” to “DCeased: War Of The Undead Gods” definitely delivers a fitting end to an “epic saga that began over three years ago”. Indeed, despite the mini-series’ heroes seemingly deducing just how to emphatically defeat Erebos within mere moments of them celebrating their initial victory over the “primordial deity” on the surface of Earth-2, the ‘sword of Damocles’ palpably still hangs over all the sizeable cast’s heads as their skilfully steer Warworld straight through the giant personification of darkness’s near impregnable flesh.

Much of this enthralling atmosphere is arguably due to the way Tom Taylor pens Damian Wayne as ever the secretive caped crusader, who trusts no-one except the personification of Death with the actual details of his suicidal plan. This distrustful intrigue repeatedly causes the reader to question whether or not the young Batman’s grand scheme is actually going to work, especially when it involves both an alliance with “the tyrannical Lord of Apokolips” and the mission’s super-powered strike team physically dying for a whole minute so as to allow the likes of Kal-El to be carried though a deadly Doom Tube.

Somewhat disappointingly though, there may well be the odd bibliophile who feels the Dark Knight’s eventual demise is a tad drawn out, thanks to the Spectre surprisingly deciding to allow Superboy to visit his doomed friend until the very last moment. This tearful goodbye is debatably a bit too sickly sweet and contrived considering just how long it takes for “the heart of the anti-life equation and the life equation” to collide, and perhaps the sheet space might have been put to better use depicting Ares' ultimately fatal fight against Erebos in outer space rather than a sedentary Damian being told how great a costumed vigilante he’d become.

Happily however, pencillers Trevor Hairsine and Lucas Meyer still manage to keep the readers’ attention with their excellent layouts, even whilst Batman is simply sat on the floor of Warworld alongside a tearful Jon Kent awaiting his fate. In fact, one of the highlights of this comic is the creative team’s decision to have Bruce Wayne’s son don a shining all-white Batsuit, which is subsequently wonderfully inked by Andy Lanning and coloured by Rain Beredo.

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

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

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

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

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

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

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

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

DC Vs. Vampires #12 - DC Comics

DC VS. VAMPIRES No. 12, February 2023

Bringing most of its planet wide sub-plots to a semi-satisfying ending James Tynion IV and Matthew Rosenberg’s “cataclysmic final issue of the bestselling series” quite surprisingly does actually end with both the promised “bang and a whimper!” Indeed, despite the highly anticipated confrontation taking place between the blood-drinker’s King and Barbara Gordon’s costumed alter ego, many of this twenty-three-page periodical’s readers will almost certainly be clamouring for a thirteenth instalment; “The war is over. I was the last casualty. And when I died so did the last thing Humanity had left to cling to… Hope.”

Foremost of these ‘dangling threads’ is that despite the heroic demises of Duke Thomas, Captain Cold and numerous unnamed prisoners at the Smallville blood farm, the Vampire’s domination of Earth arguably appears to be as formidably strong as ever. True, the narrative to “Dawn” does contain the grisly death of the aforementioned food farm’s supposedly immortal “real big one”, as well as the successful resurrection of Supergirl following Leonard Snart’s creation of “a sort of polar vortex in the upper atmosphere.” But what will actually come of these enthralling events has clearly been bookmarked for another day and potentially, a second mini-series.

Likewise, the last gasp efforts of Black Canary, Frankenstein and Damian Wayne battling a small army of sharp-fanged fiends in the streets of Gotham City disconcertingly disappears from sight once Signal has sacrificed himself so that Batgirl can make her way to Dick Grayson’s throne room reasonably unmolested. So sudden a departure is perhaps understandable given that the comic’s main focus primarily shifts across to Nightwing’s attempt to have the late Commissioner Gordon’s daughter join his side. However, like Green Arrow’s success in Superman’s hometown, nothing is actually finalised and is simply left up in the air for a subsequent publication.

Perhaps this book’s most agreeable asset therefore lies in the art and colours of Otto Schmidt, Francesco Mortarino and Pierluigi Casolino, who together deliver all the savage violence and depressing darkness of a DC Universe ruled by murderous vampires. Furthermore, the creative team do an excellent job of imbuing the smart-mouthed Harley Quinn with some incredibly funny moments, such as when the high-spirited fighter is evidently intimidated by the presence of an all-powerful Wonder Woman, and later traumatised by Barbara’s suggestion that Dick drink her blood.

The regular cover art of "DC VS. VAMPIRES" #12 by Guillem March

DC Vs. Vampires #11 - DC Comics

DC VS. VAMPIRES No. 11, January 2023

Potentially beguiling their audience like a circus performer with three simultaneous storylines, James Tynion IV and Matthew Rosenberg’s juggling act for Issue Eleven of “DC Vs. Vampires” certainly mixes all-out, adrenalin-fuelled action with stealthy, nerve-jangling shenanigans as Batgirl leads a seemingly suicidal assault upon Gotham City’s vampire army, Green Arrow initiates a prison break in Smallville and John Henry Irons desperately attempts to smuggle Supergirl onto an orbital rocket ship. Yet whilst some lesser writing teams might struggle to keep a perusing bibliophile hooked handling so many ‘balls in the air’ at once, “Our Finals Hours” arguably manages to do just that with admirable ease; “Sometimes you gotta learn the hard way not to mess with the main man, Martian Lady.”

Foremost of these ‘hooks’ has to be John Constantine’s supposedly doomed squad revealing themselves to King Nightwing’s blood-drinking cohorts and straightforwardly spanking them in their droves within an inch of their undead lives. This frenzied battle is absolutely spellbinding throughout, whether it be during its early stages when surprise is definitely on the fiery Bat Family’s side, or later on, when the super-heroes leap upon a number of motorcycles so as to make a headlong dash for the safety of the Huntress’ ultra-violet Bat-Signal.

Just as engaging is the admittedly much less violent and distinctly quieter infiltration of the Tamala space centre in Australia. Somewhat disconcertingly throwing the brash and ultra-loud Lobo into a supposedly covert penetration of extra-terrestrial collaborators definitely ramps up the tension to this sub-plot, with the duplicitous, gun toting Czarnian likely to let his new partners’ disguises slip at any moment and resultantly rob Humanity of its last chance to bring Kara-El before the energy-restoring light of the Earth’s sun.

Equally as impressive as this twenty-two-page periodical’s penmanship are its layouts, with Otto Schmidt, Francesco Mortarino and Pierluigi Casolino doing a first-rate job in depicting all its dynamic drama and sense-shattering shenanigans. Indeed, perhaps one of this comic’s biggest draws is the sheer sense of despair and world weariness which is persistently pencilled upon the faces and bodies of its formidably sized cast, as the few surviving meta-humans frantically fight against their insurmountable foes with little hope, but still plenty of bravado and deadly determination.

The regular cover art of "DC VS. VAMPIRES" #11 by Guillem March

DC Vs. Vampires #10 - DC Comics

DC VS. VAMPIRES No. 10, December 2022

Cleverly weaving the various exploits of Earth’s surviving super-heroes together as part of a combined effort against the blood-drinking machinations of a dark-hearted Nightwing, James Tynion IV and Matthew Rosenberg’s penmanship for Issue Ten of “DC Vs. Vampires” definitely delivers when it comes to portraying a global wide crisis. In fact, the sheer scope of the action on show is quite breath-taking, as the writers firmly take their readers by the crook of their arm through the dank waters of Gotham City’s underground, across the red-baked deserts of Australia, and finally, unflinchingly imprison them alongside the surviving “human cattle” found at Hawkman’s nauseating Blood Farm.

Enjoyably though, all three of these plot-threads are mesmerising, courtesy of their protagonists persistently being under threat by their now heavily fanged friends and foes alike. Such tension really is truly palpable, and perhaps best leaps off the printed page during Batgirl and Black Canary’s bold attempt to infiltrate the now long-dead Dark Knight’s former metropolis via a vulnerable-looking rowing boat; “If you really have a distraction, it might be a good time to use it, Damian.”

In addition, this comic’s collaborative writing team are very good at introducing the odd curve ball into their narrative, so as to ensure it is not simply about the likes of Green Arrow or Supergirl just facing off against the armies of the Undead in a full-on battle. Indeed, this book’s ‘detour’ to depict Punchline as the nefarious mastermind behind Gotham’s Black Market is very intriguing, and in many ways it is a shame that more time can’t be spent with Alexis Kaye’s vampiric alter-ego – especially once it’s established she’s not necessarily a force of pure evil, but more a businesswoman who is able to play both sides of the conflict for a profit.

Similarly as successful as this publication’s scintillating storyline is Otto Schmidt’s pencilling, which emphatically brings each and every one of this periodical’s sizeable cast to dynamic life. Foremost of these characters has to be the illustrator’s handling of an always uppity Harley Quinn, whose comical facial expressions and zany naked behaviour brings some welcome dark humour to an otherwise disconcertingly bleak tale of treachery, terror and grisly death.

The regular cover art of "DC VS. VAMPIRES" #10 by Guillem March

DCeased: War Of The Undead Gods #1 - DC Comics

DCEASED: WAR OF THE UNDEAD GODS  No. 1, October 2022

Lauded by its Burbank-based publishers “as the epic final chapter in the massive DCeased franchise”, Tom Taylor’s narrative for Issue One of “DCeased: War Of The Undead Gods” certainly should have satisfied the majority of its audience with its well-written resolution as to just how the likes of Superman ultimately defeated the corrupted version of the Anti-Life Equation which had so disastrously infected most of the Earth's inhabitants with a zombie-like virus. In fact, in many ways this twenty-two page periodical almost acts as a standalone aftermath for the mini-series’ previous storylines considering that both the planet and Kal-El are dramatically brought back from the abyss of madness by a youthful new incarnation of “the DC Trinity”.

Unsurprisingly however, the survivors don’t have long to enjoy the fruits of their five-year labour, courtesy of Braniac making an unwelcome visit to Earth-2 and attacking the settlement with a spearhead of his humanoid-shaped drones. This unsuccessful assault initially indicates that “The Collector of Worlds” will be this title’s central antagonist, until the book’s wily Australian author reveals the emaciated super-villain to shocking be on an errand of mercy so as to warn humanity that “the dead gods will end everything.”

Equally as engrossing as this comic’s conclusion is arguably its opening, which cleverly follows Kara-Zor-El’s horrific escape from the City of Kandor on Krypton to the equally as deadly New Genesis. Supposedly selected to be a safe haven for Supergirl, the world quickly turns in a zombie-infested hellhole where the young woman’s special abilities are inconsequential when compared to Galactica’s deity-filled denizens; “Get away from me! Get away! Hrraaaagh!”

Tying all these plot threads together are penciller Trevor Hairsine, inker Andy Lanning and Colorist Rain Beredo, who immediately somehow manage to project the sheer planetary pounding Braniac provides Jor-El’s homeworld with all the intense savagery a reader would expect from the Anti-Justice Leaguer. In addition, the trio do a fantastic job in depicting both the scorching heat and brutality of Superman’s battle with his homicidal father in the Sun’s core once the one-armed Man of Steel is lured out from where he has been patiently recuperating for a lustrum.

The regular cover art of "DCEASED: WAR OF THE UNDEAD GODS" #1 by Trevor Hairsine & Rain Beredo

DC Vs. Vampires #9 - DC Comics

DC VS. VAMPIRES No. 9, November 2022

Quite beautifully interweaving three separate storylines together into a genuinely riveting read, James Tynion IV and Matthew Rosenberg’s narrative for “A Stillness and a Storm” must surely have had it audience sitting on the edge of their seats at times. Indeed, the arrival of some of the traitorous Justice League’s most powerful vampiric members, coupled with the startling revelation as to just who the new Black Manta actually is, disconcertingly suggests that more than a few of this comic’s considerably-sized cast are about to be brutally slain; “You take the form of water to attack me? I am the Lord of all Water, child. It is mine to command. Goodbye, Twin.”

Foremost of these potential fatalities has to be Oliver Queen, who opens this book single-handedly tackling both a heavily-fanged Tobias Whale and B'Wana Beast in a dilapidated Smallville farmstead. Long-bearded and freely utilising the deadly concoction of “three parts gasoline and one part holy water”, Green Arrow seems destined to die a horrific death under an overwhelming body of his blood-drinking assailants - especially when he later decides to attack Hawkman’s heavily-guarded Camp Hiawatha head on.

Equally as hopeless is John Henry Irons’ desperate attempt to get an emaciated Super-girl to safety in Australia via the ocean. Prodigiously-pencilled by Otto Schmidt, Steel’s “watery grave” appears absolutely certain once Aquaman appears along with his formidable Royal Guard. True, the Siberian artist sketches the former AmerTek Industries employee leading a stunningly savage assault upon the treacherous “Dweller-in-the-Depths” with his sledgehammer. But it’s obvious just from the horrified look upon the super-hero’s face when he first realises who he is facing, that the sea voyage’s entire expedition are going to be systematically defeated one by one.

Lastly, this comic’s collaborative writing duo depict the Birds of Prey sizing up the terrifying hurdles preventing them from entering the ruins of Gotham City. Faced with the prospect of going “toe-to-toe with Power Girl” it is perhaps unsurprising that Black Canary’s band prefer to talk through their problems as opposed to tackling them with some suicidal shenanigans. Yet despite this lack of dynamic action, the quality of the penmanship still makes these scenes a gripping drama, with the threat of Kara Zor-L suddenly swooping down from her skyline patrol to lethally open up their veins ever present in each tense, well-sketched panel.

The regular cover art of "DC VS. VAMPIRES" #9 by Guillem March

DC Vs. Vampires #8 - DC Comics

DC VS. VAMPIRES No. 8, October 2022

Admirably living up to its pre-publication blurb of continuing “this bloodthirsty series”, James Tynion IV and Matthew Rosenberg’s script for Issue Eight of “DC Vs. Vampires” certainly tries to cover a lot of different plot-threads within this twenty-two-page periodical. However, whilst the writing duo are enthrallingly successful with both the Birds of Prey heading back “into the heart of the vampire kingdom”, and Supergirl’s action-packed crossing of “a vampire-infested ocean”, Green Arrow’s mission is disappointingly barely touched upon, with the authors instead disconcertingly depicting Oliver Queen squandering eighteen panels simply arguing with his partner, Black Canary; “They’ve got blood farms, Dinah. Humans kept in cages to feed on. I can’t let that go. You can’t ask me to.”

Fortunately though, this dialogue driven interlude is easily forgiven considering the quality of the penmanship surrounding it, most notably Kara Zor-El’s terrifying trek towards Australia and her subsequent battle with a sea full of homicidal fish-people. Indeed, the Atlantean’s attack upon the Kryptonian’s small-sized fishing trawler is debatably the highlight of this comic, as both John Henry Irons and Jayna demonstrate just how truly desperate the super-heroes are by quite literally tearing their scaly foes apart with their bare hands.

Similarly as gruesome is this publication’s portrayal of Jason Blood’s apparent massacre at the House of Mystery, and a badly wounded John Constantine’s miraculous escape. Admittedly, much of this harrowing confrontation sadly occurs ‘off-screen’, just as the world’s “leading expert on the occult and demonology” politely introduces himself to a startled Phantom Stranger, Spectre and Doctor Fate. But Otto Schmidt’s marvellous pencilling of an open-mouthed Barbara Gordon when she discovers Hellblazer’s mutilated form in the battle’s aftermath speaks a thousand words as to the fiery carnage which must have taken place inside the Kentucky-based residency.

Seemingly sat on the side-lines, repeatedly throwing a bucketful of gore over the printed proceedings in every other scene, is this book’s artistic team of Schmidt and Daniele Di Nicuolo, who together genuinely appear to completely splatter anyone in ‘claret’ whenever the opportunity arises. In fact, bibliophiles will probably be hard-pressed to recollect a title sporting so much evisceration and disembowelment this side of a Teen Plus reader rating.

The regular cover art of "DC VS. VAMPIRES" #8 by Guillem March

DC Vs. Vampires #7 - DC Comics

DC VS. VAMPIRES No. 7, September 2022

Quite considerably ramping up the scale of the vampires’ invasion of Earth to a truly global level, this beginning to the mini-series’ “nightmarish second arc” certainly seems to do a cracking job in depicting just how horrifically all-powerful the blood drinkers’ empire has become since the treacherous murder of the Dark Knight. Indeed, the opening double splash-page to Issue Seven of “DC Vs. Vampires” provides a picture of the terrifying fate awaiting any remaining pockets of humanity which speaks more than a thousand eloquently chosen words. 

Enjoyably however, this sense of grandeur doesn’t deter James Tynion IV and Matthew Rosenberg from still focusing upon the individual inhabitants of their deadly alternative world, and making their audience suddenly care for the likes of Adam Strange, Negative Man and Peacemaker. These ‘B-Listers’ have clearly taken up the fight in the name of mankind, and almost immediately capture the sympathetic support of the reader as they desperately attempt to escort an emaciated Kara to a safe haven whilst all the time fending off the ghoulish incarnations of some of the DC Universe’s heaviest hitters; “Yes. I have always thought you were the most boring member of the Justice League.” 

Furthermore, the shocking and systematic demise of Mister Bones’ band of brave do-gooders to an utterly arrogant Wonder Woman is not only as debatably chilling as comic book violence can possibly get, but also helps quickly establish the deadly, ruthless nature of those heroes infected by vampirism. Establishing such a despicable malevolence really is crucial to this publication’s final third, when it becomes evident that even the highly experienced Green Arrow has been significantly shaken to his core by the sights he has seen and is resultantly angrily at odds with some of his fellow super-heroes when they suggest “travelling halfway around the world, cross the ocean” to Australia to clear the ash clouds dominating the sky.

Adding an incredible amount of realistic fatigue to this comic’s considerably sized cast are Otto Schmidt’s pencils, which really do help promote the utter exhaustion felt by the few mortal survivors of the new Vampire King’s reign. Likewise, the Siberian illustrator does a stellar job in portraying this book’s more action-orientated moments and brings a genuine pathos to the plight of Robert Todd when the skull-headed protagonist sadly slips into lifelessness alongside Jayna after the Wonder Twin seemingly rescued him from an overconfident Firestorm.

The regular cover art of "DC VS. VAMPIRES" #7 by Guillem March

Batman/Superman [2019] #5 - DC Comics

BATMAN/SUPERMAN No. 5, February 2020

As “explosive first arc” finales go, it is somewhat doubtful that the majority of this comic’s declining 36,269 strong audience were particularly impressed with just how “Who Are The Secret Six?” concludes. For whilst the titular characters successfully stop “the satellite and the portal to the Dark Multiverse”, this twenty-two page periodical doesn’t in any way resolve the consequences of Hawkman, Supergirl, Shazam, Donna Troy and Blue Beetle becoming infected by the Batman Who Laugh’s poisonous toxin.

Indeed, the more cynical reader may well view Issue Five of “Batman/Superman” as little more than the culmination of a huge marketing campaign by “DC Comics” for the Burbank-based publisher’s 2019 crossover comic book event involving Lex Luthor transforming himself into a “human/Martian hybrid version of himself”; especially when this particular book even goes so far as to close with the exasperating caption “follow the Batman Who Laughs & the Infected in Year of the Villain: Hell Arisen #1”.

Sadly such shenanigans arguably take the shine off of what is otherwise a darn good story by Joshua Williamson, who uses the death of Superman and his family on Earth-22 to dramatically motivate the Man of Steel in this universe. Positively incensed by the decayed corpses of his wife and child hanging on display within the Dark Multiverse’s satellite, and enraged by Shazam’s horrifying belly-laugh at the sight of his Justice League friends’ mutilated cadavers, the California-born writer depicts a suddenly all-too deadly portrayal of Clark Kent’s alter-ego, who literally pounds both his cousin, Kara Zor-El, and Captain Marvel into the very ground.

“One of the premier shepherds of the DC universe” is similarly as skilful penning Batman too, as the Dark Knight tackles Commissioner Gordon and Blue Beetle using a mixture of wits, gadgetry, fists and Superman’s extra-terrestrial zoo animals. Tapping into Jamie Reyes’s untainted scarab to destroy the Batman Who Laughs’ nefarious tower, and subsequently felling the dark version of Gotham City’s veteran police officer with a thunderous kick in the guts, Williamson also manages to simultaneously show the Caped Crusader’s more caring side, by having him notice just how much discomfort Ted Kord’s successor must constantly be in when morphed into Khaji Da’s battle suit; “Jaime… I never knew… Ugh… That scarab was so… painful…”

Writer: Joshua Williamson, Artist: David Marquez, and Colorist: Alejandro Sanchez

Batman/Superman [2019] #4 - DC Comics

BATMAN/SUPERMAN No. 4, January 2020

Persistently rocking back and forth as to whether or not this comic’s titular characters have any hope of thwarting the Batman Who Laughs and his evil, toxin-infected, super-powered slaves, Joshua Williamson’s script for “Who Are The Secret Six?” may well have caused some of its 45,796 readers to feel a little green about the gills. However, for those bibliophiles able to weather such a sense-shattering storm, it’s hard to imagine them ever encountering another twenty-two page periodical crammed with half as many as twists and turns as the “New York Times Best Selling Author” somehow manages to crowbar into this publication’s action-packed narrative.

For starters, just as it looks likel the ‘dynamic duo’ might be about to outmanoeuvre the Blue Beetle’s stunning subjugation of the Fortress of Solitude in the Bermuda Triangle, the pair are shockingly hamstrung by the unforeseen arrival of a heavily-poisoned Donna Troy and Hawkman. This surprising revelation not only must have caught many a bibliophile off-guard, but also leads to some great dialogue where the likes of Jim Gordon, the original Wonder Girl and Carter Hall rebuke “Blue Boy” and the Dark Knight for a plethora of perceived injustices, such as the American archaeologist emphatically stating just “how sick Carter is of hearing about how you plan for everything, Batman”.

Similarly as stunning is the pulse-pounding entrance of Supergirl, and the almost nonchalant side-punch she subsequently smacks Troy into tomorrow with. The idea of Superman, Kara Zor-El and Bruce Wayne’s alter-ego knuckling down to a no-holds barred bout of fisticuffs against a party of poisoned heroes who have been turned “into the Dark Multiverse versions of themselves” is mouth-watering, until it quickly transpires that intercepting a toxin-laced bat-a-rang hurled by the Blue Beetle probably wasn’t the greatest idea of the Kryptonian’s cousin; “Is someone going to explain to me why all our friends have a metal fetish now?”

Nobly injecting all these non-stop shenanigans with plenty of pace are David Marquez’s scintillating storyboards. Moodily coloured by Alejandro Sanchez, the American artist really manages to imbue this comic’s punch-ups with some palpable impacts. In fact, it’s arguably hard to watch either Troy smacking the seven bells out of Superman or Kara cracking Hawkman squarely on his chiselled jaw, without involuntarily winching at the formidable force such blows would surely create.

Writer: Joshua Williamson, Artist: David Maequez, and Colorist: Alejandro Sanchez

Man Of Steel #6 - DC Comics

MAN OF STEEL No. 6, September 2018

Whilst Brian Michael Bendis may well have truly believed that his narrative for this mini-series’ “slow-burn mystery of what happened to Lois and Jon” was “very enticing… very exciting”, it is arguably problematic to envisage the majority of the weekly’s audience feeling the same way considering just how many questions the five-time Eisner Award-winner’s script for Issue Six of “Man Of Steel” disconcertingly conjures up. In fact, many readers surely must have felt that the American author’s plot to “Finale” was a far cry from the “really smoothly” paced storyline he felt he had assembled upon the printed page “when all the pieces come together like a beautiful Tetris…”

To begin with, having literally had his ‘clock cleaned’ by Rogol Zaar in this adventure’s previous instalments, Superman suddenly demonstrates a superior fighting mentality over his much stronger opponent and manages to goad the alien into a rash assault simply by informing him that the Kryptonian feels “sad for you.” This sudden ‘baiting’ immediately provides Clark Kent’s alter-ego with the opportunity to dispose of the formidably-scarred fiend’s planetary bomb and within the space of a few frames the Earth is saved and Supergirl has succinctly zapped the destroyer of Kandor into the Phantom Zone.

Just why the “timeless sensory deprivation tank” wasn’t used before by Kara Zor-El straight after “the big baddie” ‘trashed’ the Fortress of Solitude is only fleetingly touched upon by Bendis, yet worryingly would suggest that his incarnation of the titular character would rather risk the lives of every person on the planet than utilise so straightforward a solution to Rogol’s threat simply because “it doesn’t give us any answers” as to just who his assailant was? This self-centredness, which appears additionally misplaced when Superman subsequently chides his cousin for tossing the villain into the “inter-dimensional realm” (and resultantly saving the planet), surely must have grated upon the nerves of some bibliophiles, as it would seem to oppose the very core of Jerry Siegel’s co-creation and merely be used as a contrived excuse to extend the main protagonists’ battle; “I wasn’t considering the Phantom Zone because it’s only a band aid.”

Long-suffering fans must also have been just as disappointed with the Cleveland-born writer’s revelation as to “the fate of Lois and Jon”, with mother and child just deciding to spend some time with Kal-El's biological father, Jor-El. Admittedly, their tearful departure apparently provides artist Jason Fabok with the opportunity to pencil “an intentional homage to the last panel of Superman #423 during the Whatever Happened to the Man of Tomorrow” event by illustrating Kent grieving after his family. But it’s hardly the most disastrous of outcomes, especially when compared to some of this title’s previous catastrophes, like Kandor’s demise or the utterly bizarre accusation at this comic’s very end where a small child blames the Metropolis Marvel for starting the city’s recent spate of fires…

Writer: Brian Michael Bendis, Artist: Jason Fabok, and Colors: Alex Sinclair

Man Of Steel #5 - DC Comics

MAN OF STEEL No. 5, August 2018

Considering that this penultimate instalment to the American author’s “Man Of Steel” mini-series both shows Superman to be almost nonchalantly bested by his new nemesis and then disconcertingly left alive on the Moon despite the “religious zealot” making it abundantly clear that he wants to eradicate all Kryptonians, it is difficult to imagine that many within this twenty-three page periodical’s 62,468 readership actually believed that Brian Michael Bendis genuinely felt “the legacy of the [titular] character” when he first ‘hopped on’ to deliver the comic’s narrative.

Indeed, the logic behind this publication in particular doesn’t debatably make much sense when compared to what the Cleveland-born writer has penned before, with Rogol Zaar’s decision to permit his hated foe to be revived by the Justice League simply being the tip of the literary ice-berg. For one, considering the sheer cataclysmic confrontation which tears up great divots into the Moon’s surface, how come it takes Supergirl so long to realise that that is where her cousin is battling for his life? True, scientifically-speaking “you cannot hear any sounds in near-empty regions of space”, but surely that would be a clue in itself to one with super-hearing that just such a location was a possibility, and judging by the huge billows of dust previously being raised by the duo’s bout of fisticuffs it surely wouldn’t have been impossible for Kara Zor-El to have spotted what was taking place with her super-vision..?

Similarly, having been battered to near-death by the Phantom Zoner (for a second time in as many issues) and buried alive beneath the Moon’s surface, Kal-El supposedly just needs a moments bed-rest before being able to drill through the Earth’s crust at such an incredible speed that he quickly reaches the planet’s core. This incredible feat of recovery admittedly provides this comic with an awesome-looking conclusion, as Superman faces the “anti-Kryptonian mass-murderer” for presumably a final face-off, yet surely if the Metropolis Marvel’s constitution worked so fast such classic crossover event storylines like his near-fatal fight with Doomsday would have had remarkably different resolutions..?

Quite possibly this magazine’s least frustrating element therefore, is its focus upon Jor-El’s visit to the modern-day Earth-based House of El, and his arrogant offer “to take Jon across the galaxy and show him a side of his heritage Jon's parents can't teach him” without even discussing such a trip with the boy’s stunned parents. This infuriating haughtiness, superbly pencilled by Jason Fabok, must genuinely have irked those parents within the comic’s audience which have encountered similar attitudes from their own children’s grandparents, and Clark Kent’s ability not to punch Mister Oz in the face for such a suggestion does him proud, especially when a brattish Jon impudently declares “I’m going.”

Writer: Brian Michael Bendis, and Artists: Adam Hughes & Jason Fabok

Man Of Steel #4 - DC Comics

MAN OF STEEL No. 4, August 2018

It’s arguably hard not to feel that Brian Michael Bendis placed an awful lot of faith in this title’s 63,565 readers, in so far as believing they’d actually go and seek out all the additional information relating to Rogol Zaar's background which "DC Comics" was contemporaneously printing, simply to help them fill in the gaps which his penmanship creates throughout this mini-series’ narrative. For whilst the Cleveland-born author’s script for Issue Four of “Man Of Steel” predominantly focuses upon the titular character’s failed fist-fight against the “alien who claimed to have been responsible for destroying Krypton”, the twenty-two page periodical never touches upon the Phantom Zoner supposedly committing “a string of atrocities across the cosmos” prior to his arrival on Earth, nor clarifies what his vendetta with Jor-El's people is.

Admittedly, this lack of clarity surrounding the facially-disfigured, super-strong “religious zealot” does provide a significant element of intrigue to proceedings as to why he seemingly hates Clark Kent’s alter-ego so much and how he so nonchalantly managed to obliterate the entire hapless population of Kandor. But in only laying “down the bread crumbs leading to the writer’s first issues of Superman and Action Comics in July” the Metropolis Marvel’s lengthy battle with his new nemesis in this publication eventually becomes little more than a debatably stale confrontation which rather drags on, especially as Kal-El’s adversary “has not spoken. Not one word.”

Similarly as disconcerting is just how tough Zaar apparently appears to be, batting off the all-powerful punches of the Big Blue Boy Scout and his cousin, Supergirl, in one pulse-pounding panel, and then effortlessly laying a serious sense-shattering smackdown upon the pair in the next. Indeed, it’s hard to recall Kara Zor-El being treated in such a disrespectful fly-like manner as Bendis portrays her within this book, with the Kryptonian being repeatedly swatted away into the sky like an irksome insect by “the new big bad.” 

Perhaps this magazine’s biggest disappointment however, comes with Kevin Maguire’s artwork which seems better suited to a more humour-filled magazine, than one cataloguing Superman’s all-too sombre “cleansing” with an extra-terrestrial mass-murderer. Highly stylised, and supposedly “comedian… Seth Meyers… favourite comic book artist”, the American’s heavily outlined cartoony illustrations badly jar with such life-threatening circumstances and debatably make the likes of Hal Jordan’s appearance as “the Green Lantern of this Sector” look like something from a Late Sixties issue of “Not Brand Echh”.

Writer: Brian Michael Bendis, and Artists: Kevin Maguire & Jason Fabok