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

BRING ON THE BAD GUYS: MEPHISTO No. 1, October 2025

Described by its New York City-based publisher as bringing Mephisto’s epic scheme “to a fiery conclusion”, Marc Guggenheim’s script for this twenty-five page periodical disappointingly probably left the vast majority of its readers feeling pretty cold. Indeed, the notion that the Prince of Deceivers would be successfully outwitted by his servant Sister Sorrow, and resultantly readily allow the Latverian sorceress to walk off with the very Soul Forge he has spent so long filling with spirits, arguably provides this publication with a contrived ending at best; “You’re welcome to try to take it from me. Bur there are over eight billion souls on Earth. And they are all now under my command.”

Furthermore, many a bibliophile will surely find themselves scratching their heads in utter bemusement when Doctor Doom suddenly materialises inside the original sanctorum of the Lords of Darkness, leading the likes of the Dread Dormammu, Loki, the Red Skull, the Green Goblin and the Abomination in a premeditated attack upon the “Securer of the Seven Sins”. So preconceived an assault by so many of the Marvel Universe’s most powerful super-villains debatably smacks of sheer fan fiction, and doesn’t seem all that in character with several of the aforementioned evil power-houses; most notably the Lord of the Dark Dimension who would surely never feel it necessary to team-up with Norman Osborn or Emil Blonsky..?

Perhaps this comic’s biggest issue however, is that it is never made clear just what Mephisto’s plans for every soul on Earth actually are once he gains control over them. “Old Nick” presumably has some nefarious fate in mind for the world’s mortals. But such unimaginable power over the masses is never explored and resultantly will doubtless make some onlookers question just what the point behind these “seven villainous one-shots” actually was – especially as the Prince of Devils gives up his prize without even threatening Sorana with some future retribution.

Lastly, Alvaro Lopez’s artwork whilst proficient enough to help tell the story, does appear a little wooden once the plot becomes packed with so many “bad guys”. Admittedly, the illustrator does a very good job in capturing the look of the Silver Age Johann Shmidt. Yet when it comes to the supposedly super-athletic Green Goblin or quick-scheming Loki, this somewhat old-fashioned drawing style frustratingly causes them to appear as slow-footed, lumbering dolts.

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

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

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

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

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

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

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

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

The Immortal Hulk #19 - Marvel Comics

IMMORTAL HULK No. 19, August 2019

Absolutely chock full of some of the most harrowing death scenes and grisly demises arguably ever witnessed inside a “Marvel Worldwide” comic book, Al Ewing’s script for Issue Nineteen of “The Immortal Hulk” must have ‘blown away’ many of this ongoing series’ 88,100 fans in June 2019, and certainly shows just why the British author would “keep mentioning in interviews” the inspiration he took from John Carpenter’s 1982 science fiction horror film “The Thing” when penning this title. Indeed, such is the level of grotesque mutilation which occurs within this twenty-page periodical, chiefly the Hulk’s arm being painfully melted away by the Abomination’s digestive juices, that it is hard not to imagine the American filmmaker quietly whispering in the ear of artist Joe Bennett as each gore-soaked panel was being pencilled.

Surprisingly however, it isn’t just the buckets of intestines and internal organs being on show, which makes this publication so (pleasantly) horrific, but also the cold-hearted manner in which the likes of poor innocent Marge are straightforwardly dispatched, just as the hotel worker would appear to be safe and sound in the hands of her government’s agents. The woman’s heartless murder at the hands of General Reginald Fortean’s clean-up team is truly chilling, and resultantly makes the ruthless mercenaries’ subsequent deaths at the bird-like talons of the Harpy disconcertingly satisfying; “You -- You didn’t have to. I could have -- I don’t know, questioned them, exposed them --”

Similarly as shocking is the state of Bruce Banner’s alter-ego towards the end of this comic. Ewing rather cleverly takes all the attention away from the Hulk’s battle against the Abomination for the vast majority of this book, by predominantly focusing upon Jackie McGee’s investigation into Betty Ross’s fully-feathered transformation, and it is therefore not until the Harpy herself actually stumbles upon the green goliath’s disturbingly limbless husk that it becomes clear just how highly acidic Subject B’s projectile vomit actually is.

Impressively though, the former “2000 A.D.” writer leaves his best surprise for last, by having Ross turn upon her hapless ex-husband’s much maligned body to the utter astonishment of all who witness it. There’s almost a pathetic, child-like quality to the Hulk just before he is disembowelled, as the blind brute hears his former love’s voice and believes help is on the way, and this makes the savagery of the Harpy’s attack all the more jaw-dropping, as she literally carves him open and feasts upon his bloody flesh.

First published on the "Dawn of Comics" website.'

The variant cover art of "IMMORTAL HULK" No. 19 by Greg Smallwood

The Immortal Hulk #18 - Marvel Comics

IMMORTAL HULK No. 18, July 2019

Despite cramming most of this comic’s action into its final third, and arguably relying upon a mass of character (re)introductions with which to populate the rest of this twenty-page periodical, it is still reasonably clear just why Al Ewing believed at the time of its publication that “Hulk fans have… been really supportive of this run, even though we’re putting their hero through some incredible contortions and convolutions.” For whilst the former “Future Shocks” writer’s script to Issue Eighteen of “The Immortal Hulk” seems to spend a significant amount of time depicting Mister Bancroft’s sedentary taxi journey back to the Friedrich Inn and Doctor Leonard Samson’s dialogue-heavy debate with Gamma Flight, these conversational pieces still provide plenty of fascinating insights into the turbulent world of Bruce Banner and his monstrous alter ego; “Look at the damage he’s done over the years -- billions of dollars. Trillions. And yet civilians never die in these rampages.”

In addition, the intermittent glimpses of General Fortean’s face-fingered Subject B slowly stalking its oblivious prey, and horribly murdering any hapless bystander who stands in the scaly-skinned abomination’s way, generates an increasingly tense atmosphere which may well have tempted the odd Hulk-Head to sneak an early peek at this comic’s cataclysmic conclusion. Luckily, for those within this books’ 75,983 strong audience who ‘stayed the course’ though, the ensuing confrontation between the Green Goliath and his visually-disturbing, sharp-clawed opponent is worth the wait, due in large to the revelation that a semi-conscious Rick Jones is somehow partially buried deep within the ghastly creature’s horribly-malformed maw…

Significantly ramping up this horror show an extra notch or three, has to be Joe Bennett’s pencilling, which seems to successfully heap muscle upon muscle over the Hulk’s broad shoulders whether he be appearing as little more than a reflection in the mirror, or as a ‘last minute saviour’ to protect Marge from the same grisly demise which has befallen her co-worker Anna. The Brazilian artist really seems to have a fine grasp for creating highly memorable new foes for this ongoing series too, with Ewing demonstrating just how much faith he had in his creative collaborator’s design skills by placing Emil Blonsky’s ‘heir presumptive’ into the plot simply because the illustrator “said he’d quite like to draw the Abomination.”

First published on the "Dawn of Comics" website.'

The regular cover art of "IMMORTAL HULK" No. 18 by Alex Ross

Savage Hulk #2 - Marvel Comics

SAVAGE HULK No. 2, September 2014

One of my favourite super-villains, Stan Lee’s Abomination is one of the few characters I’ll actually purchase a comic book solely for; providing the artwork inside is reasonably competent anyway. However I’ve always felt Emil Blonsky’s alter ego has had something of a hard time establishing himself as an opponent worthy of rivalling the Hulk in strength and power. Fortunately Alan Davis’ superb cover to Issue Two of “Savage Hulk”, which depicts the large scaly humanoid seriously giving his arch-foe a good straight left to the chin, encapsulates all the raw aggression and sheer ferocity which once saw the human mutate attain the rank of 54th Greatest Comic Book Villain of All Time by Imagine Games Network.

Indeed under the pen and pencil of the English writer/artist I have not see a more powerful interpretation of the former KGB agent as he additionally battles the original X-Men and swiftly brings both Marvel Girl and the Angel to their knees. As Blonsky states himself this is “no dumb brute” the Hulk faces, but a behemoth who is not only bigger and stronger than Bruce Banner’s gamma-bomb induced form but one which is more intelligent too. As a result Davis gets to draw some simply superb slug-fest moments as the Abomination clearly tries to finish what he starts on the comic book’s front cover. Readers will rarely have seen the Hulk take such an almighty beating as the Russian smashes boulder after boulder into him; all accompanied by the obligatory “Fram” and Throom” sound effects.

In many ways this is real old school Marvel storytelling stuff, back to the heyday of Stan “The Man” and “King” Kirby, as the green giants go toe-to-toe, panel after panel, punch after punch, page after page. However such is the detail and impact of Alan Davis’ masterful artwork, gorgeously green thanks to the wonderful labours of colorist Matt Hollingsworth, that the relentless action doesn’t get monotonous for a moment.

There’s also some nice touches going on in the background, with the likes of Cyclops and Iceman realising they’ve been reduced to second-stringers by the two powerhouses before them, and simply concerning themselves with their own preservation.

The cowardly Major Talbot also ‘enjoys’ a supporting cast guest appearance as he begrudgingly orders his infantry and tanks forward to face the duelling combatants. Fortunately the soldier is saved by being able to arrest an unconscious Abomination, who, having inevitably goaded the Hulk once too often, finds himself soundly defeated.

Writer & Penciler: Alan Davis, Inker: Mark Farmer and Colorist: Matt Hollingsworth