Nightwing #110 - DC Comics

NIGHTWING No. 110, March 2024

For those readers who enjoy team-up titles, Tom Taylor’s narrative for Issue One Hundred and Ten of “Nightwing” should have been right up their alley, with its wonderfully penned pairing of the titular character with Jonathan Kent. Sure, the hilarious inclusion of a feline-looking Damian Wayne as Mister Mittens undoubtedly steals all the limelight once the Dark Knight’s heavily-mutated side-kick makes his appearance in the former Gotham Blades hockey arena. But it is still arguably a joy to watch Dick Grayson and Superman’s son undertake a covert infiltration of the Pit together, and show that both have brains, as well as brawn; “With your powers, you’re a magnet for the spores. If you’re down here and get slowed down, even for a moment, you could be infected.”

Indeed, rather than simply rely upon “the first Earth-born Superman” to just barge his way into the criminal fighting arena, the New York Times bestselling author instead shows the Human/Kryptonian hybrid demonstrating great restraint by listening to the more experienced guidance of his comrade-in-arms. This plot device really helps to sell the tale’s sense of danger to the audience, and makes it clear that despite all Jon-El’s incredible powers, he might actually make the metropolis-wide beast plague all the more formidable if he interferes in his friend’s plan to rescue Robin, and resultantly succumbs to the Star Conqueror’s infection himself.

Of course, Mister Mittens is by far and away the most memorable of this thirty-page periodical’s cast, imbuing its plot with an antagonist who is simultaneously both adorable and deadly. However, the humanoid cat creature provides the overall villain, Apex Ava, with plenty of impressively convincing punch too - especially when it’s made clear that the ordinarily extremely strong-willed young master Wayne could do absolutely nothing except obey the green-skinned, heavily-tattooed woman whilst he was in his feline form.

Also well worth a shout-out for making this comic’s storytelling so successful are artist Sami Basri, inker/finisher Vicente Cifuentes and colorist Adriano Lucas. The trio are easily as potent when it comes to bringing this book’s pencils to eye-catching, vivid life, as Dick, Jon and Damian are bringing an end to the murderous spectacle pf the Pit, with the sheer savagery of the place’s gladiatorial bouts almost leaping off of the printed page whenever the clawed combatants fight to the death.

The regular cover art of "NIGHTWING" #110 by Bruno Redondo

From The DC Vault: Death In The Family: Robin Lives! #1 - DC Comics

FROM THE DC VAULT: DEATH IN THE FAMILY: ROBIN LIVES! No. 1, September 2024

Following the infamous events of Issue Four Hundred and Twenty Eight of “Batman” from 1988, but containing an “alternate ending in which Jason Todd survives his brutal encounter with The Joker”, J.M. DeMatteis’ storyline for this four-part mini-series’ opening instalment most likely didn’t live up to its audience’s expectations. Indeed, despite being the thirty-sixth best-selling comic book in July 2024, the American author’s decision to tell his tale through the narration of Doctor Saraswati Dev arguably causes a persistent confusion as to just which text box or word balloon a reader should peruse next.

Furthermore, apart from a brief fracas between the Dark Knight and the Clown Prince of Crime during the twenty-two page periodical’s beginning, and an all-too short tussle concerning Bruce Wayne’s alter-ego and the Scarecrow at its very end, the vast majority of this publication focuses upon Jason Todd’s disagreeable behaviour to all those who dearly love him. Admittedly, any bibliophile familiar with writer Jim Starlin transforming the sidekick into an “increasingly aggressive and reckless” crime-fighter during his stint on the title back in the Eighties, won’t be surprised by such unlikeable behaviour. But such is the boy’s ingratitude towards the likes of Alfred Pennyworth, that his repeated petulance soon becomes tedious and off-putting.

What does appear to work well though, is just how disconcerting the Caped Crusader is penned within this tome. Bob Kane’s co-creation has potentially always walked a somewhat fine line between justified violence and taking a physical beating a bit too far. Yet in this particular comic, the cowled vigilante appears extremely close to losing control, especially when he seems to be willing to risk the Joker drowning in Gotham Harbour, or has to be brought to his senses by a Police Officer whilst mercilessly pummelling Jonathan Crane.

Easily this book’s biggest disappointment however, has got to be the ‘overworked’ line art of Rick Leonardi, which sadly makes a fair few panels, most notably those featuring Batman’s arch-nemesis, rather messy. This style proves particularly confusing during a sequence where the Joker suddenly blasts to safety using some covert jump-jets attached to his waist, and a rather clunky-looking scene set inside Arkham Asylum; “Then I’d suggest, Doctor Stoner, that you’re more delusional than your patients.”

The regular cover art of "FROM THE DC VAULT: DEATH IN THE FAMILY: ROBIN LIVES" #1 by Rick Leonardi & Dave Stewart

Titans #15 - DC Comics

TITANS No. 15, November 2024

Promising “a major death [which] will shake the DCU” in its solicitation synopsis, Tom Taylor’s narrative for Issue Fifteen of “Titans” probably disappointed the vast majority of its audience in September 2024. Sure, the twenty-two page periodical’s plot does contain poor Dick Grayson’s demise, courtesy of Batman’s former sidekick being crushed to death by a large boulder. But Nightwing’s passing is so very short lived, that its occurrence hardly has any time to impact upon the reader’s mind before the first Boy Wonder is back on his feet fighting alongside his team-mates; “My friends will not be harmed. I will not allow it.”

Furthermore, the “New York Times bestselling author” also frustratingly pens a largely dialogue-driven ending to this title’s long-running “Dark-Winged Queen” storyline, with an emotional Beast Boy spending far too much time talking to the two distinct and physically separate personalities of his beloved Raven. This conversation debatably goes on and on and on, completely killing any of the pulse-pounding pace previously established by a guest-starring Superman getting his clock absolutely cleaned by a blow from the almighty Trigon.

Mercifully, the writing for this book’s final third, which sees a sense-shattering slugfest between the powerful demon and his equally formidable daughter, at least provides some measure of a cataclysmic confrontation to keep the long-term fans slightly happy. Such a fracas would arguably make for an enthralling experience just on its own. However, Taylor doubles-down on its intensity by having the entire Titans’ roster join the conflict, and empower Rachel Roth’s hellish alter-ego with all their special abilities too.

Equally as inconsistent as this publication’s storytelling though, is arguably the artwork by Lucas Meyer. The aforementioned brutalisation of Trigon by Raven is incredibly well pencilled, and really sells the earth-shattering nature of the two giants’ clash as the very ground around them opens up in response to the strength of their strikes. Yet sadly, the same can hardly be said of the Brazilian illustrator’s sketches concerning Garfield Logan yammering on to the love of his life. These layouts, which admittedly contain some slightly humorous transformations by the green-skinned shape-shifter, persistently nullify any sense of momentum generated by the panels depicting the chaos of the frantic battle for survival surrounding them, and resultantly take any onlookers completely out of the fight.

The regular cover art of "TITANS" #15 by Lucas Meyer & Marcelo Maiolo

Adventures Of Superman #463 - DC Comics

ADVENTURES OF SUPERMAN No. 463, February 1990

Whilst on the face of it a simple foot race between the Flash and Man of Steel might not seem enough to pad out this comic’s twenty-page plot, Dan Jurgens’ script for Issue Four Hundred and Sixty-Three of “Adventures Of Superman” certainly seems to give its audience plenty to think about as the two competitors complete a lap around the world. In fact, the American author uses the head-to-head contest to pen a genuinely fascinating insight into the heroes’ psyches, and show his readers what really makes the two Justice Leaguers tick; “Even though I have super human powers I’m not trained as a runner, and this is more physical work than flying to the moon!”

Foremost of these well-written ‘hooks’ is arguably the chip on Wally West’s shoulders that he is viewed by all those around him as being “not quite as fast as the original Flash”, Barry Allen. This ‘slight to his speed’ is repeatedly brought up throughout the twenty-five-thousand-mile marathon by a number of fellow onlooking metahumans, and persistently needles the founding member of the Teen Titans to the point where he himself actually begins to doubt whether he can defeat Clark Kent’s alter-ego in a fair sprint for the endpoint back in Metropolis.

Likewise, the Ortonville-born writer does a similarly successful job sowing reservations in Kal-El’s mind, predominantly due to the somewhat over-confident Kryptonian’s opponent somehow keeping up with him despite all the hurdles the winding ‘green carpet’ creates for the runners. This gradual decline in Superman’s ordinarily-high self-assurance makes for some truly hypnotising moments, most notably once Mister Mxyzptlk’s scheme progresses to the Soviet Union stretch, and dramatically takes Newstime magazine’s latest manager to both his physical and mental limits.

Ably assisting Jurgens’ pencils with his own finishes is Art Thibert, who together with this book’s lead storyteller, provides plenty of visual clues as to the increasingly weary condition of the pulse-pounding race’s contestants. These layouts prove especially telling as the competition reaches its conclusion, with both contenders clearly wearing their hearts upon their sleeves, as they desperately search for that final surge of energy to help them cross the goal line first.

Story & Pencils: Dan Jurgens, and Finishes: Art Thibert

The Return Of Superman 30th Anniversary Special #1 [Part Two] - DC Comics

THE RETURN OF SUPERMAN 30th ANNIVERSARY SPECIAL No. 1, December 2023

Opening this anthology book’s second half, Karl Kesel’s "The Metropolis Kid" is probably the comic’s most touching tale, courtesy of a twelve-page script which focuses upon just why Superboy convinced Perry White to believe in him despite the adolescent’s arrogant bravado and cockiness. Indeed, the Ontario County-born writer does a first-rate job in depicting the shades-wearing Kon-El as a well-meaning metahuman, who whilst happy to hog the limelight from a local fire’s real first responders, arguably does so with the best intentions at heart – and even attempts to later make up for what the youth sees as his mistake by flying a replacement skateboard to his “favourite grommet” when the original is blow apart by an errant shot from Bloodsport’s LexCorp-produced firearm.

Nobly assisting the penmanship for this story, especially once the narrative turns in favour of a much more action-packed shoot-out between the genetically-engineered Kryptonian clone and the villainous Robert DuBois, is Tom Grummett, whose energy-packed fight scenes add plenty of “Blam Blam Blam” to the duo’s sadly short-lived confrontation. Furthermore, Superboy’s co-creator appears very good at depicting Bloodsport’s facial horror at discovering that the “microscopic coating of Kryptonite” on his bullet-tips has no effect on the wannabe Man of Steel.

Finishing off “this special that’s sure to be a classic in the future” is "Betrayal" by Dan Jurgens. Initially focusing upon the Daily Planet’s mistake of publicly stating “Superman Is Back” in the guise of Hank Henshaw, this tale eventually moves on to Metropolis’ modern-day problem with the mass-murdering cyborg as he almost effortlessly defeats a combined assault upon him by Superboy, Steel and the Eradicator; “I was afraid this’d be over by the time I got here. Not that I’m hoping for rampant destruction, death, and mayhem, you understand.”

Essentially a somewhat sentimentally sweet apology by the newspaper’s Editor-In-Chief to the genuine Justice Leaguer, this yarn’s already quite palpable sense of drama is debatably doubled once the Phantom Zone-bound antagonist discloses he’s simply seeking a means to reincarnate his dead wife and friends, rather than “create a new Engine City.” Such motivation genuinely causes something of a dilemma, as no reader will understandably forgive Henshaw for “incinerating seven million men, women and children.” Yet, the former Astronaut’s current desire to simply resurrect his ‘loved ones’ is a much more reasonable incentive, and one many a bibliophile might sympathise with.

The regular cover art of "THE RETURN OF SUPERMAN 30th ANNIVERSARY SPECIAL" #1 by Dan Jurgens

The Return Of Superman 30th Anniversary Special #1 [Part One] - DC Comics

THE RETURN OF SUPERMAN 30th ANNIVERSARY SPECIAL No. 1, December 2023

Arguably reading more like a memorial to the unconscious, hospital-bound editor-in-chief of the Daily Planet than the actual Man of Steel, this Thirtieth Anniversary Special for “The Return Of Superman” certainly still captures the audience’s attention by having Cyborg Superman shockingly attack S.T.A.R. (Scientific and Technological Advanced Research) Laboratories for no discernible reason. However, Henry "Hank" Henshaw’s treacherous assault upon the advanced scientific research facility is sadly soon side-lined in favour of several authors simply penning a series of short, character-focused yarns that individually target the “Four Supermen [who] Rose To The Challenge” of replacing Kal-El following the Kryptonian’s apparent death over three decades ago.

First up is “Speed!” by Louise Simonson, which depicts John Henry Irons’ armour-encased alter-ego battling a carload of laser cannon-carrying criminals, who unwisely decide that Metropolis’ recent blackout is the perfect opportunity for them to stake their claim on a local block of hapless residents. Prodigiously pencilled by Jon Bogdanove, this fast-paced fight fest is visually somewhat reminiscent of Frank Miller’s more recent art-style and resultantly crackles with raw energy as Steel tackles a pair of toastmasters in front of a cheering crowd; “Bet this’ll stop the bad guys the next time they show up around here!”

Slightly more thoughtful is Jerry Ordway’s “…He Had Me Thinking He Was Superman…”, a twelve-page investigative piece that centres around Perry White’s first encounter with the utterly merciless Eradicator, and shows that the elderly reporter can still ‘follow his nose’ to a good story whenever the opportunity arises. Indeed, in many ways the ancient extra-terrestrial vigilante takes a back seat to the newspaperman, as Lois Lane’s boss not only intercepts the analogue radio wave used by the tale’s arms traffickers. But also interviews enough bystanders to determine where the much sought after weapons shipment is being loaded.

Equally as enticing with his illustrations as his penmanship, the American author/artist does an excellent job of selling some of this one-shot’s contrivances to his audience by repeatedly sketching White as a savvy-headed individual who knows just where and when to be to get a scoop. Furthermore, this yarn’s layouts perfectly portray Eradicator’s machine-like, emotionless pursuit of justice and inhumane willingness to prosecute evil-doers far beyond what is acceptable to Metropolis’ Police Department.

The regular cover art of "THE RETURN OF SUPERMAN 30th ANNIVERSARY SPECIAL" #1 by Dan Jurgens

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 #7 - DC Comics

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

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

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

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

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

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

DCeased: War Of The Undead Gods #6 - DC Comics

DCEASED: WAR OF THE UNDEAD GODS  No. 6, April 2023

Largely focusing upon a cataclysmic confrontation between two towering juggernauts of the “DC Comics” Universe, Tom Taylor’s narrative for Issue Six of “DCeased: War Of The Undead Gods” pulse-poundingly depicts a bout of pugilism like few publications have arguably done before. Sure, none of this book’s readers would have initially felt Mister Mxyzptlk warranted so high a threat level as to draw the ire of a planet-sized Spectre. But this particular incarnation of the “Fifth Dimensional imp” has been completely consumed by the anti-life equation, and now threatens to wipe out every last living thing in existence with his “nigh-omnipotence.”

Furthermore, it isn’t just the Melbourne-born writer’s basic premise of two colossal forces striking each other with world-ending impacts which probably most captures the audience’s imagination. Instead, it’s more likely the Australian’s enthralling extra elements to help emphasise the sheer scale of the contest, such as an armada of insect-sized Green Lanterns desperately attempting to distract Superman’s annoying nemesis from the Forties by universally roping one of his wrists with the emerald power of their rings, and resultantly being squashed flat by an irritated sweep of Mxy’s hand.

These ‘reality tearing tribulations’ are also rather nicely supported by an excellent secondary thread concerning the galactic war reaching Earth-2 and Alfred Pennyworth shockingly stepping forward as the one entity who might thwart Darkseid’s “unstoppable army of infected New Gods, Yellow Lanterns and more…” This moment of madness comes just as Batman appears to be on the verge of being beaten to death by an utterly insane Izaya the Inheritor, and surely must have caused many a bibliophile to quite literally catch their breath; “This is the spirit of vengeance and the rage of a man. You will not take another son from me!”

Equally as adept at storytelling is artist Trevor Hairsine, who even manages to prodigiously pencil the odd black hole being punched into outer space. The British illustrator’s “detailed style” proves especially good at emphasising the utter despair flooding over Bruce Wayne’s aged butler, who having seen his entire family recently wiped out before his very eyes (and predominantly at his own hands), just cannot cope seeing another person he loves die right in front of him.

The regular cover art of "DCEASED: WAR OF THE UNDEAD GODS" #6 by Howard Porter & Rain Beredo

DCeased: War Of The Undead Gods #5 - DC Comics

DCEASED: WAR OF THE UNDEAD GODS No. 5, February 2023

Ordinarily depicted as something of a fun-loving figure whose formidable abilities are predominantly used to either pester Superman or at least make the Kryptonian’s life a little more difficult, Tom Taylor’s “infected” incarnation of Mister Mxyzptlk in Issue Five of “DCeased: War Of The Undead Gods” will probably have “DC Comics” fans never seeing the Fifth Dimensional imp in the same light-hearted way again. Indeed, once the nigh-omnipotent alien gazes upon a “corrupted Mother Box” and becomes overwhelmed by the Anti-Life Equation, the Australian author turns Jerome Siegel’s co-creation into a truly terrifying creature who genuinely threatens the entire cosmos; “Erebos cannot be stopped. The Quintessence should focus our energy on the next universe.”

Furthermore, having established a mighty meta-human force for good on Oa which is led by Superman and supported by a veritable army of Green Lanterns, the sudden sense-shattering shift in favour of Darkseid’s zombie-like villains isn’t debatably seen until the very last minute, when the overly confident trickster fatally pauses in using his reality-warping powers to transform the New God “into a tasteful flower arrangement”. This ‘sleight of hand’ penmanship leads to a genuinely shocking moment, as the likes of Kilowog and John Stewart suddenly realise their mission to save Bolovax Vik is unachievable and get treacherously crushed to death by a being whom they thought was actually going to aid them in their quest.

Similarly as sensational is Superman’s fate at the hands of Kara Zor-El, who having been poisoned by the Anti-Life Equation on New Genesis, is depicted as an utterly vindictive and deranged “Last Daughter of Krypton” who mercilessly toasts some Bolovaxians stood cowering beside the Man of Steel without a moment’s hesitation. Admittedly, this particular twenty-two-page periodical disappointingly doesn’t provide the two combatants with much actual ‘screen time’ together, courtesy of Darkseid’s aforementioned move against Mister Mxyzptlk. But the ghastly manner in which Supergirl fries three innocent lives within mere seconds of Clark Kent assuring them of their safety is bound to have ramifications in a future face-off.

Ably assisting Taylor in his terrific storytelling are pencillers Trevor Hairsine and Neil Edwards, who both add plenty of gritty realism to the cataclysm events occurring on “one of the most populated planets in the universe.” The pair appear to be particularly proficient at imbuing “Mxy” with all the visible hallmarks of an enigmatic entity who has been driven homicidally insane, as well as plenty of jaw-breaking clout to any punches thrown.

The regular cover art of "DCEASED: WAR OF THE UNDEAD GODS" #5 by Howard Porter & Rain Beredo

DCeased: War Of The Undead Gods #4 - DC Comics

DCEASED: WAR OF THE UNDEAD GODS  No. 4, January 2023

For those buyers expecting to read about Lobo’s reception following the Czarnian’s decision to join “the greatest heroes in the universe as they gather to fight the galactic armada of the undead”, this twenty-two-page periodical’s plot probably proved something of a disappointing headscratcher. Sure, Tom Taylor’s storyline for Issue Four of “DCeased: War Of The Undead Gods” contains just the sort of ear-ringing explosions and bruising body blows a reader might associate with “the Ultimate Bastich”. Yet despite the Burbank-based publisher’s solicitation promising otherwise, Roger Slifer’s demonic-looking motorcyclist doesn’t actually appear anywhere within the comic.

Instead, its audience is greeted with a somewhat lengthy look at Alfred Pennyworth’s understandable nightmares following him gunning down the anti-living incarnations of Batman, Robin and Nightwing, as well as the former butler’s current cohabitation with girlfriend Leslie Thompkins. Such character development is admittedly touching. However, the incredibly sedentary sequence takes up almost half of the book, so by the time Darkseid threatens both Maxima and her evacuating Almeracians, there isn’t too much room for many pulse-pounding panels.

Intriguingly though, an overwhelming wave of high-octane fisticuffs clearly isn’t the Australian author’s plan for this particular instalment to his mini-series, as arguably this comic’s biggest hook lies in the revelation that the Guardians of Oa are planning to annihilate seven planets and their inhabitants in an effort the thwart the Anti-life Equation, even though “we have a cure.” This horrific genocide even takes the likes of Guy Gardner by surprise and taps directly into the outrageously bloated hubris of the Green Lantern Corps when Ganthet unwisely attempts to incarcerate Superman within a bubble of emerald energy for opposing their appalling plan; “One punch. He knocked out a freaking Guardian with one punch!”

Desperate to liven up all these word-heavy discussions and arguments with their proficient pencilling are artists Trevor Hairsine and Neil Edwards. To be frank, the pair don’t really have much to work with when it comes to Alfred’s emotional farewell to Damian Wayne's cowled alter-ego. But by the time the narrative has moved on to Clark Kent’s aforementioned confrontation the layouts are much more dynamic, with Batgirl’s brutal, doubled-handed uppercut upon a self-righteous Kilowog proving highly memorable.

The regular cover art of "DCEASED: WAR OF THE UNDEAD GODS" #4 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

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

Batman/Superman [2019] #16 - DC Comics

BATMAN/SUPERMAN No. 16, May 2021

Reading like an “Elseworlds” imprint, this twenty-two page “glimpse of brave new worlds within the DC Universe” certainly must have captivated the majority of its audience with its somewhat innovative manner of telling a story via two separate strands of movie reels. Indeed, Gene Luen Yang’s somewhat startling approach to this comic’s storytelling as a literal double feature probably ensured that Issue Sixteen of “Batman/Superman” was read at least a couple of times by fans of the American icons as they digested “The World Of Tomorrow” and “The World Of The Knight” both as individual and adjoined narratives; “You can either follow one story line to the end and then come back for the other or follow both story lines simultaneously! The choice is yours!”

The first of this comic’s “alternate realities” definitely contains a number of intriguing differences to the modern-day Superman’s universe, most notably that Martha Wayne somehow survived the alley-way shooting which should have caused her infant son to become the avenging Dark Knight, and has resultantly become a big name in the world of technology. Initially threatened by “the maniacal machinations of the Unknown Wizard”, this tale from Metropolis soon develops much less of a tongue-in-cheek tone as Bruce’s mother is arguably ‘earmarked’ as the true villain of the well-penned piece.

Likewise, the California-born writer creates a similarly strong adventure for Batman and Robin in this book’s secondary yarn, as the Dynamic Duo foil Spider Lady’s bold attempt to rescue the Joker and Penguin from some insane experimentation programme at Arkham Asylum. This time though, a “trans-dimensional collision” has resulted in Kal-El being killed mid-flight during the baby Kryptonian’s escape from his doomed planet, and causes Lois Lane from this comic’s Man of Steel story to shockingly appear just as the Caped Crusaders are about to battle a strange figure inside a mysterious fortress at the Arctic Circle. 

Adding enormously to all these celluloid shenanigans is Ivan Reis and his incredibly well planned layouts. The Brazilian artist is clearly on tip top form pencilling the exploits of this book’s titular characters, but it is the way in which he incorporates all of his drawings into a winding roll of film which really helps sell the suggestion that the reader is watching some old flick at the cinema, rather than simply perusing a paper-bound publication. In fact, it is easy to hear the whirr of a vintage Kodak cine projector in the background as each parable is played out.

The regular cover art for "BATMAN/SUPERMAN" #16 by Ivan Reis, Danny Miki & Sabine Rich

Batman/Superman [2019] #15 - DC Comics

BATMAN/SUPERMAN No. 15, February 2021

As self-contained, single edition long stories go, Joshua Williamson’s “Snow Fight” probably pleased many within the ongoing series’ audience with its thumpingly good tension and interesting take on Alfred Bester’s co-creation Solomon Grundy. But whilst the twenty-two periodical’s plot certainly does a solid job of squaring off this comic’s titular characters against the Secret Society of Super-Villains, it arguably does so due to its California-born writer having to force a few illogical leaps of faith.

For starters, just why Superman can’t simply convey the suddenly radioactive zombie to Slaughter Swamp on his own is never convincingly expounded upon, especially when the accepted alternative to the Man of Steel flying him in his arms is supposedly Batman placing the highly explosive prisoner in the Bat-Wing and piloting his bound passenger through a terrifyingly turbulent snowstorm. The notion that Kal-El’s super-speed may well detonate a volatile Grundy makes sense, however surely a simple alternative would therefore be for Colonel Marie Jonas to just ask the Kryptonian to fly a little less fast, and perhaps even go as so far as to encase Solomon in some sort of protective containment vessel first..?

Likewise, the pair’s mission to transport the white-skinned living corpse has seemingly only just been conceived, and yet Poison Ivy already knows that the plan has somehow miraculously reached the ears of The Secret Society of Super-Villains. Such an incredible breach of security is implausibly explained away by Pamela Isley as being due to information leaving “Arkham so quickly that you’d think it was an inmate”. Yet that doesn’t explain how word got back to a seemingly incarcerated “Doctor Green” that the criminal group plan to use the zombie as a weapon of mass destruction, or why Deadline’s attack squad know precisely where to intercept the Dark Knight during a blinding blizzard..?

Disappointingly, even Andrei Bressan’s artwork isn’t without its flaws either, despite the Brazilian illustrator certainly proving his worth when it comes to Superman, or even Solomon for that matter, laying a serious smackdown upon their ever-arrogant opponents; “The Society didn’t give me all the details, Lady Vic. But if we get Grundy, we get paid! Take ‘em down!” Sadly, Williamson’s script seemingly ends with the highly proficient penciller still needing to populate a fair few more panels, and the resultant snowball fight disconcertingly depicts a decidedly impressionable Bruce Wayne taking on a facially very similar-looking Kal-El.

Writer: Joshua Williamson, Artist: Andrei Bressan, and Colorist: Alejandro Sanchez

Batman/Superman [2019] #14 - DC Comics

BATMAN/SUPERMAN No. 14, January 2021

Despite this comic bringing Joshua Williamson’s three-part “Planet Brainiac” storyline to a fairly fulfilling finale, some within this particular publication’s audience probably still found themselves checking out the comic’s actual page count once they had finished perusing it. Indeed, it’s arguably hard to recall such a rapier-fast read as the one the California-born writer presents within Issue Fourteen of “Batman/Superman”, as the titular characters finally manage to stop the homicidal machinations of an utterly deranged artificial intelligence located deep inside a “deadly moon base”.

Happily however, rather than “DC Comics” simply reducing its content, this apparent brevity of an experience is actually down to good old-fashioned prodigious penmanship and a thoroughly enthralling battle against a technologically advanced opponent, courtesy of the script cleverly mixing the Man of Steel’s pulse-pounding encounter against the composite Batman/Superman automaton in Metropolis, with that of the Dark Knight’s clever infiltration of its electronic mind in the digital world; “It worked… Overwhelmed the program long enough for you to download it into a closed system."

Also adding to this book’s sense-shattering shenanigans is Williamson’s use of Steel and Batwoman as supporting cast members, and their crucial involvement in distracting the misguided ‘Brainiac protocol’ prior to the “World’s Finest duo” applying their coup de grâce. John Henry Irons debatably takes the lion’s share of such a spotlight, thanks to his “little Hail Mary for rainy days” and ability to hack into the “army of killer robots”. But Batwoman definitely steals the show with a genuine badass moment as she single-handedly takes out an entire army of mechanical murder-bots using just her electrically-charged fists, and purposely poses atop her mountain of metallic mayhem.

In rounding off this excellent instalment, it would simply be rude not to mention Max Raynor’s extraordinarily dynamic contribution to the success of this comic’s story-telling too, and his breath-taking attention to detail for all the numerous automatons based upon the cream of the DC Universe Rogues Gallery. This publication’s prodigiously pencilled bouts of pugilism really are tremendously well-drawn, with the artist’s ability to imbue every punch with a palpable, bone-breaking impact doubtless making many wish the comic had at least depicted a few panels of Kate Kane’s aforementioned triumph over her numerous foes.

The regular cover art for "BATMAN/SUPERMAN" #14 by David Marquez & Alejandro Sanchez

Batman/Superman [2019] #13 - DC Comics

BATMAN/SUPERMAN No. 13, December 2020

It is difficult to imagine that many of this comic’s 31,000 readers in October 2020 didn’t get caught up in the pulse-pounding pace of Joshua Williamson’s plot for Issue Thirteen of “Batman/Superman”. For whether they be a fan of just the titular characters or this twenty-two page periodical’s guest-stars – Steel and Batwoman, the almost endless series of nefarious knockdowns, titanic tussles with mechanical arch-nemeses and brutal bouts of cybernetically-enhanced boxing, surely must have sated the pugilistic desires of even the most voracious bibliophile; “…It is clear your battles are never-ending. I must act quickly if I am to truly help you put an end to your enemies. You have passed many of my tests.”

Arguably leading this foray into some superbly-penned shenanigans is the half-blinded Batman, who despite being manacled upside-down by the robotic Prince of Puzzles, reveals just why he is both a formidable fighter and the World’s Greatest Detective by besting the android Nygma in a brutal game of Chess. Grim-faced, badly injured, yet still a formidable combination of brain and brawn, the Dark Knight absolutely tears through every trial Braniac's seemingly homicidal computer program can throw at him, and demonstrates just why the Caped Crusader is “listed among the greatest comic book superheroes… ever created.”

Similarly as impressive, at least as far as his ability to brutalise his motorised opponents, is Clark Kent’s alter-ego, who for once is given the opportunity to “enjoy the freedom to unleash your full power” upon his hapless foes. Superman’s action-packed sequences may well lack much of the mental agility depicted within his cowled team-mate’s scenes. But that doesn’t mean the Kryptonian wants for thought-provoking conundrums, especially when he is literally stopped dead in his tracks by his artificially-enhanced antagonist’s query as to why he doesn’t save Lex Luthor if he already realises that the people who raised the Metropolis businessman “would rather hurt him than teach him kindness.”

Also adding an enormous amount of bang to this book’s buck is Max Raynor’s dynamic and highly-animated pencilling. The artist’s layouts really help speed along this publication’s story-telling, and then provide its audience with the occasional splash-page long pause so as to help them gather their wits before hurling them head-first back into the awesome action.

Writer: Joshua Williamson, Artist: Max Raynor and Colorist: Alejandro Sanchez

Batman/Superman [2019] #12 - DC Comics

BATMAN/SUPERMAN No. 12, November 2020

Whilst readers less tolerant of editor Paul Kaminski’s frustrating use of this comic to blatantly promote at least six other “DC Comics” titles might argue Joshua Williamson’s narrative for “Planet Brainiac” is little more than a rather choppily patched together advertisement. Those more forgiving fans of the American author who enjoy a healthy combination of pulse-pounding pugilism and Machiavellian mystery were probably thrilled by the exciting pace found inside Issue Twelve of “Batman/Superman”.

Indeed, not only does this twenty-two page periodical depict a fantastic free-for-all between the titular characters and the very best of the Batcave’s technologically-advanced mechanical guardians, such as the Batmobile, Batwing and the latest incarnation of the Justice Buster. But it also produces a thoroughly enjoyable exploration into circumstances surrounding the Dark Knight’s possible demise by the somewhat unlikely pairing of Steel and Batwoman – a team-up which proves as intriguing as the destruction of the Caped Crusader’s secret lair appears utterly overwhelming; “The trick is going to be hacking the bat-computer. Might not matter with the amount of damage --”

Likewise, the California-born writer manages to effectively pull off one of the ‘oldest tricks in the book’ with this comic’s cliff-hanger conclusion, by making its bibliophiles believe one thing when Bruce Wayne’s alter ego has all along been saying quite the opposite. Just how a seriously battered and bandaged Batman manages to escape Brainiac’s clutches on “the dark side of the Moon” in order to make his misinterpreted video message is never made clear, yet it still leads into a mouth-watering finale which surely caused many comic book collectors to impatiently await the appearance of this storyline’s subsequent instalment on their local store’s spinner rack.

Similarly as successful as this publication’s prose is its interior layouts by Max Raynor and colourist Alejandro Sanchez, who together provide this comic’s quite considerably-sized cast with plenty of animated life. John Henry Irons and Katherine Kane’s costumed counterparts, as well as giant super-villain Chemo, are especially well-drawn, with the creative team really managing to show the super-heroes’ increasing concern as they realise just how much trouble an off-world Dark Knight might actually be in.

Writer: Joshua Williamson, Artist: Max Raynor, and Colorist: Alejandro Sanchez

Batman/Superman [2019] #11 - DC Comics

BATMAN/SUPERMAN No. 11, October 2020

As ‘thrilling conclusions’ go, there was surely little doubt in this twenty-two page periodical’s audience that Joshua Williamson delivered on “DC Comics” pre-publication promise that the titular characters would bring “the deadly machinations of the Ultra-Humanite” crashing to an end. However, just how the California-born writer’s narrative “will reverberate across the DC Universe for months to come” is arguably much harder to imagine, considering that his “Atomic” story-line wraps with the unnamed mad scientist’s degenerating brain being housed within S.T.A.R. Labs and Bruce Wayne successfully removing the villain’s “damn detonator” from his chest using the Batcave's advanced surgical table.

True, Batman is clearly unsettled by the Ultra-Humanite’s claim that “someone was keeping Atomic Skull captive” before Albert Michaels blew up Gotham City’s Financial District, and the American author unsurprisingly has the supposedly dead scientist tear himself free of his grave plot at the comic’s end. But none of this seems to suggest something so deadly has been started that the Burbank-based publisher’s “fictional shared universe” is in danger of being affected, nor that Superman’s revelation to the world that he is Clark Kent will detrimentally impact his relationship with the Dark Knight; “Clark, Stop. I know that. And I wasn’t mad that you didn’t consult with me about revealing your identity. I was only frustrated with how I reacted.”

What Issue Eleven of “Batman/Superman” does deliver though is a thoroughly enjoyable battle of sheer strength and sharp wits between the Man of Steel and one of “the first supervillains of the Golden Age of Comics.” Indeed, the pair’s titanic tussle, superbly sketched by former “Alpha Flight” artist Clayton Henry and beautifully coloured by Alejandro Sanchez, is arguably faultless, as Kal-El demonstrates to both his arch-nemesis and any perusing bibliophile that “Batman isn’t the only detective” in this book by using a trail of rare radiation and his supersonic hearing to locate the Ultra-Humanite’s secret headquarters. Aided by an incapacitated Caped Crusader, Williamson really shows off the Kryptonian’s fighting savvy by having him distract his ‘omnipotent’ opponent just long enough for his partner to neutralise the crook’s technologically advanced base of operations.

The regular cover art of "BATMAN/SUPERMAN" No. 11 by David Marquez

Batman/Superman [2019] #10 - DC Comics

BATMAN/SUPERMAN No. 10, September 2020

Packed with plenty of pulse-pounding pugilism involving the Man of Steel, a fascinating autopsy of the Atomic Skull’s corpse by the World’s Greatest Detective, and a seriously shocking conclusion which reveals the Ultra-Humanite’s sole motivation is to “be remembered as the mind who killed Batman and Superman”, Joshua Williamson’s script for “Atomic” must surely have thrilled each and every one of the comic’s readers. Indeed, the California-born writer’s combination of a sense-shattering flashback concerning the grisly demise of “the first supervillain faced by Superman”, a seriously sinister exploration of the Gotham Industrial Clean Waste facility, and subsequent capture of the Dark Knight by a horde of cybernetic-zombies is arguably faultlessly penned.

For starters, despite his destructive death in this story-arc’s opening instalment, Albert Michaels’ alter-ego is still very much at the heart of the narrative, with both his desperate attempt to right his many wrongs in Metropolis and a remote detonator found near his heart, leading the Caped Crusader to determine someone within his city “is experimenting with turning people into drones… into bombs.” This gruesome discovery clearly rattles even Kal-El and actually leads to the Kryptonian looking a tad nervous during the titular characters’ grim investigation into a missing “shipment coming in from Metropolis weeks ago.”

Just as enthralling is the pair’s battle against a wave of WayneTech’s deceased employees, which debatably demonstrates both the strengths and weaknesses of the ‘dynamic duo’. The Ultra-Humanite touches a raw nerve with Superman when the white gorilla admits he enjoys watching them work together as “one is the mind and the other is the muscle”, and cleverly ensures the Last Son of Krypton must abandon his friend to a pack of cyborg-cadavers by ordering one of his long-dead minions to self-detonate; “Superman, you need to get that drone out of the city. Now.”

Clayton Henry’s artwork also adds an incredibly amount of energy to this twenty-two page periodical, with his pencilling of Kal-El’s reaction to the mutilation taking place around him proving to be one of this publication’s highlights. There’s a palpable sense of sheer superhuman power in all the panels the Jamaican sketches involving the Man of Tomorrow, especially when he’s desperately trying to keep his anger in check whilst facing either the Ultra-Humanite’s seemingly senseless determination to steal an experimental atomic sequencer or the criminal's antagonising mind-games.

Writer: Joshua Williamson, Artist: Clayton Henry, and Colorist: Alejandro Sanchez