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 #5 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 5, February 2025

There can surely be little doubt that Matthew Rosenberg’s revelation towards the end of this twenty-four page publication’s plot had its readers genuinely gasping in revulsion at “the horrifying secret” behind how the vampires were still defeating the human resistance. In fact, many a bibliophile will probably find themselves unable to move along from Green Arrow’s discovery and its “shocking connection to the Speed Force” without at least re-visiting the disturbing scene a couple more times; “They’re doing something with all that food they grow. If they’re not feeding a large group of people. What are they feeding.?”

Impressively though, this eye-opener isn’t the only surprise Issue Five of “DC Vs Vampires: World War V” has in store for its audience, with the comic’s American author clearly still having a few more trump cards tucked up his sleeves. Foremost of these disclosures is probably Big Barda’s sudden emergence from out of a dark, winter night’s sky to absolutely clobber the blood-drinking fiends intent on murdering her husband (and potentially harm their infant baby). To say Jack Kirby’s creation completely annihilates the likes of a heavily-fanged Power Girl and Raven is a massive understatement, and genuinely helps imbue this comic with some truly palpable energy at a time when its other simultaneous story-threads are undeniably dialogue-driven.

Likewise John Constantine’s ill-advised visit upon the convalescing vampire queen, Barbara Gordon, doesn’t pan out quite as some onlookers might have expected – albeit the Hellblazer is seemingly a little too cocksure for his own good when it comes to antagonising Gorilla Grodd. In fact, the anti-hero’s decision to visit the dark heart of the Nosferatu Empire appears suicidally insane straight from the start, largely due to him not actually having anything tangible with which to bargain for his life.

Prodigiously pencilling all these sense-shattering shenanigans is Otto Schmidt, who really imbues Big Barda with all the momentous muscle a member of the New Gods is expected to wield. Furthermore, the Siberian-born artist does an incredible job of capturing Batgirl’s myriad of emotions using just her eyes and mouth - a talent which is particularly impressive considering that the undead creature’s entire body is covered with unsightly burns and blemishes, so it must have been extra hard providing the figure with even the smallest of facial expressions.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #5 by Otto Schmidt

Titans #9 - DC Comics

TITANS No. 9, May 2024

Considering the total absence of any action whatsoever within this continuation of Tom Taylor’s “Dark-Winged Queen” saga, the comic still arguably contains plenty of intrigue and double-dealing to hold its audience’s attention throughout. True, much of the twenty-page plot revolves around various cast members simply conversing with one another. But even something like a short-lived sequence depicting Peacemaker inadvertently walking in on Amanda Waller’s secret meeting with the demon Trigon provides the Australian author with an opportunity to demonstrate both Christopher Smith’s unswerving patriotic fervour, as well as the head of the Bureau of Sovereignty’s ruthlessness in immediately deciding to have a new recruit’s memory wiped of her diabolical dealings.

Indeed, the script to Issue Nine of “Titans” is simply packed full of character development, ranging from Beast Boy’s increasing descent into a dark depression on account of recently trying to inadvertently take over the world, through to the Quintessence’s unsuccessful attempt to covertly warn the planet Earth of its imminent destruction utilising the fast-paced skills of the Greek god Hermes, and thus “risk a confrontation with Hell.” So crammed a carousel of word-heavy scenes genuinely could have become incredibly tiresome for many a reader to navigate. However, such are the sticky webs being spun by the competing forces of good, evil and the American way of life, that every time someone opens their mouth another twist to an already engrossing tale is added; “That is a decent carrot. But I’m after actual power, not just the appearance of it. Let’s talk about a better deal, devil…”

Of course, the clear highlight of this publication has to be Raven’s subtle ability to manipulate her team-mates for her own satanic ends. No longer Rachel Roth, the Daughter of Darkness does a terrific job of making the Flash look a fool simply by insinuating the speedster forced Garfield Logan to leave the super-group's rescue mission on the Island of Key West prematurely, before the media could film the vilified shape-shifter once again saving people. Furthermore, the fact Starfire asks her to help Beast Boy recover his understandably lost boyish swagger could well add future legitimacy to the spell-caster’s savage cleansing of her boyfriend’s mental guilt, shame, and self-loathing.

As a result it is probably only new series artist Lucas Meyer’s pencils which take a bit of warming up to. Approached by publisher “DC Comics” to be the ongoing illustrator “about halfway through issue four of Titans: Beast World”, the Brazilian does a fantastic job when it comes to sketching the fiery pits of Hell. Yet his portrayal of the Titans and many of the other figures in this book, especially the likes of Cyborg and Wally West, regrettably look a little stiff and wooden.

Writer: Tom Taylor, Artist: Lucas Meyer, and Colorist: Adriano Lucas

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

Titans #8 - DC Comics

TITANS No. 8, April 2024

Debatably penning the titular characters as the actual antagonists in Issue Eight of “Titans”, at least in the eyes of “newly established Bureau of Sovereignty” member Sergeant Steel and an utterly ungrateful nameless member of the American public, Tom Taylor’s narrative should most definitely raise the blood pressure of the super-team’s fans. In fact, for some bibliophiles it’s probably difficult to imagine a more enraging tone to a comic as the anti-hero hysteria which permeates this twenty-page-periodical’s plot; “Yeah. I watch the news. We know exactly who you are, and we know exactly what he is. Get the hell away from my kids, Beast!”

Equally as engrossing as this palpable ingratitude towards the group who literally saved the world from the Necrostar’s attack, is the Australian author’s sub-thread depicting Raven as a covert thrall of her utterly evil patriarch, Trigon. This treacherous subterfuge does not bode well for a band of crime-fighting champions already struggling with their public image following the “Beast World” multi-title event, and also hints at some mouth-watering demonically-flavoured fights yet to come should Rachel Roth somehow manage to escape the soul gem within which her horned parent holds her.

Perhaps therefore this book’s sole frustration probably lies in the creation of “the new T-Jet”, which sadly smacks of elements taken from both the Avenger’s Quinjet and the X-Men’s famous Blackbird. Of course the Teen Titans have always been “widely thought of” as DC Comics' “answer to the increasingly popular Uncanny X-Men from Marvel Comics”. But it’s arguably still a little ‘right on the nose’ to see Nightwing piloting so similar a stealth fighter, even if this version can instantaneously travel to its destination via Cyborg’s Boom Box technology.

Ably adding to this publication’s storytelling is Stephen Segovia, whose pencilling of Trigon the Terrible and his dark-hearted daughter is simply ‘spot on’. Sure, the Filipino artist’s somewhat doe-eyed depiction of Sergeant Steel, Melinda Grayson-Lin and their television host somewhat jar the senses. However, such a minor quibble doesn’t long break the book’s overall visual spell, especially once matters move on to Tempest stopping a large flotilla of sea-going vessels from an almighty rogue wave, and the unfounded open hostility etched upon an ungrateful father’s face when a gorilla-shaped Garfield Logan attempts to save his frightened children from a deadly flood.

The regular cover art of "TITANS" #8 by Dan Mora

Titans #7 - DC Comics

TITANS No. 7, March 2024

Quite neatly bringing Tempest back into the family fold of the Titans, whilst simultaneously dispatching Brother Eternity rather fittingly to the Phantom Zone, Tom Taylor’s script for “Royal Blood” certainly seems to tick all the boxes needed for a successful comic book. Indeed, the Melbourne-born writer manages to imbue his twenty-page plot with a healthy dose of adrenalin-fuelled action as Batgirl single-handedly battles a horde of humanoid animal creatures, some distinctly dark decision-making on behalf of Raven, and even a smidgeon of tongue-in-cheek fun with the ever-dashing Dick Grayson being temporarily transformed into a red-furred specimen of Vulpes vulpes; “Nightwing is a fox. Of course he is.”

Sadly however, much of this publication’s impact is arguably lessened by just how easily the superhero team defeats its foes, starting with “the first Aqualad” - who is almost entirely dismissed by Rachel Roth’s alter-ego during their confrontation, and quickly laid low courtesy of a “flash dehydration”. Likewise, this long-running narrative’s main protagonist, the treacherous Tamaranean Xand’r, appears to completely fail in his plan to command the technologically-advanced Cyborg into doing his evil bidding, and is unflatteringly clobbered unconscious with a single punch from Starfire.

This sense of underwhelming achievement even debatably extends to the savage, seething mass of monsters who recently broke into the team’s base of operations and appeared to be on the verge of clawing all its occupants into tiny pieces. Rather than generate any lasting threat, at least once Barabara Gordon is shown bravely battling a trio of these nightmarishly fanged creatures in a partially submerged corridor, the audience are simply assured that the Flash has “rounded up all the beast people in the tower and contained them in the sub-basement.”

Ultimately, a lot of this lack of urgency or raw energy, may well lay at the feet of artist Travis Moore and colorist Tamra Bonvillain. There’s little doubt that the pair do a perfectly proficient job in depicting this book’s storyline, with Batgirl’s aforementioned fight whilst being waist-deep in water probably proving its highlight. Yet, there’s just something about the somewhat flat-looking, listless layouts which frustratingly doesn’t appear to imbue the panels with much in the way of palpable dynamism.

The regular cover art of "TITANS" #7 by Clayton Henry & Marcelo Maiolo

Titans #6 - DC Comics

TITANS No. 6, February 2024

For those fans either unwilling to fork out for the “Titans: Beast World” multi-issue comic book mini-series and the event's numerous crossover titles, or simply just completely oblivious to the notion of “the people of Earth turning into animals after being exposed to the Beast Boy spores” storyline, Tom Taylor’s narrative for Issue Six of “Titans” may well have proved a bit hard going in places. Sure, some early dialogue from the likes of Starfire, Nightwing and Batgirl provides a little background information as to what is currently occurring inside the "DC Comics" universe. But what this twenty-page periodical arguably really needs is some sort of synopsis for any within its audience who haven’t read the six different tie-ins published before this one; “Detective Chimp and Doctor Clancy are examining Wolf-Batman now.”

Luckily, the “New York Times bestselling author” does still manage to pen an enthralling yarn for those bibliophiles ‘in the dark’, courtesy of Tempest and Brother Eternity penetrating the security of Titans Tower, and allowing the titular characters’ headquarters to be quite literally overrun by beasts. Indeed, this moment generates a palpable sense of urgency within the facility’s inhabitants, thanks largely to Clancy’s children innocently watching cartoons in the Lounge Room whilst a horde of bears, alligators and white-furry bunnies are just a whisker away from ensuring their “vital organs [are] gouged out.”

However, just as engaging is probably this comic’s opening, which focuses upon Princess Koriand’r’s final moments in the presence of her ill-fated mother, just minutes before an alien invasion leads to the destruction of her civilisation. This flashback sequence is both well-written and seemingly connects to the publication’s current main antagonist – Xand’r, providing the storytelling with an exciting pair of bookend-like scenes.

Frustratingly, the same praise probably cannot be directed towards Travis Moore’s illustrations though. The visual artist is clearly a proficient penciller, who does a fine job in helping Taylor deliver an exciting adventure. Yet the American’s style debatably lacks a lot of the detail which this title’s regular contributor, Nicola Scott, definitely delivered, and resultantly, every now and then a panel will potentially ‘jolt’ a reader out of the tale, such as when Garth of Atlantis bursts in upon Dick Grayson and flattens a flailing leopard-person with a small tidal wave.

The regular cover art of "TITANS" #6 by Clayton Henry & Marcelo Maiolo

Titans #5 - DC Comics

TITANS No. 5, January 2024

Very much living up to “DC Comics” pre-publication promise of “The Titans are going green” in this twenty-page-periodical, Tom Taylor’s plot for “Out Of The Shadows” still probably dissatisfied a number of its readers with its super-wordy narrative. Indeed, even the titular super-group’s battle against “the new and improved Demolition Team” is resolved via Beast Boy angrily giving one of the villains a considerable tongue-lashing, as opposed to transforming into one of his famously flamboyant animal forms; “Gar. They’re subdued. The town and the people are safe. It’s done.”

Of course, that doesn’t mean for a second that this book’s “New York Times bestselling author” doesn’t later depict Changeling in a multitude of guises as Logan impressively transmutes into a mass of butterflies, dung beetles and then ladybirds in order “to heal the Borneo rainforest”. But these marvellous, multi-bug makeovers are included simply to show the extent of the former Doom Patrol member’s special powers, as opposed to exciting the audience during the aging sidekicks’ stand-off against numerous criminals “with a construction motif”.

Arguably much more involving, though just as dialogue driven, is Nightwing’s last minute deduction that the Flash’s future murderer is actually Wally West’s alien-possessed wife. This well-penned revelation is already known to any bibliophile familiar with the ongoing series. Yet the shock generated by the investigative journalist nonchalantly attempting to detonate a Qwardian Doomsday Weapon inside the Titan trophy room on Mars is still somewhat palpable, due to the reactions of both Dick Grayson and the Scarlet Speedster as Linda impotently taps the neutralised device’s activation button repeatedly.

Perhaps slightly discombobulated by this comic’s inaction is Nicola Scott, whose sketches of Swamp Thing seemingly make the Avatar of the Green appear disconcertingly thin and utterly unimposing. In fact, the protector of plant life is regrettably difficult to spot in many a panel, due to the peaceful yet supposedly powerful giant’s lack-lustre stature, and some of colourist Annette Kwok’s dark-hued palette choices. Happily however, the Australian artist doesn’t disappoint when it comes to Beast Boy’s aforementioned insect-based transformation sequence, with the depiction of the protagonist willingly losing a tiny part of himself whenever one of his green-hued creepy crawlies dies probably being the highlight of the book.

Writer: Tom Taylor, Artist: Nicola Scott, and Colorist: Annette Kwok

Titans #4 - DC Comics

TITANS No. 4, December 2023

Intriguingly treading the line between low-level crime-fighting and international terrorism, Tom Taylor’s narrative for “Out Of The Shadows” certainly seems to start well, courtesy of a touchingly intimate focus upon Beast Boy and Raven as the couple reconcile Garfield Logan’s doubts about the future of humanity by defeating a pair of knife-wielding neighbourhood bullies. But whilst this somewhat tongue-in-cheek transformation into a talking tiger proves entertaining enough, some within this comic’s audience might be left scratching their heads in bemusement at the rest of the book’s plot.

For starters the notion that the Teen Titans should suddenly decide to return to the Southeast Asian island of Borneo at precisely the same location as one of its settlements is being forcibly removed by the gun-toting Demolition Team is arguably a little too manufactured, considering that it appears to occur solely upon Changeling’s whim to “lead a reforestation effort” with the agencies there. Admittedly, the young vigilante has been badly affected by the recent deaths of the area’s wildlife in a mysterious fire. But to immediately convince the rest of his friends to abandon investigating the Flash’s imminent death sadly smacks of the “New York Times bestselling author” sluggishly contriving the super-group’s separation simply so Wally West proves an easier target for his enigmatic assassin.

In addition, the sudden disappearance of both Nightwing and the Scarlet Speedster just when an alien-influenced Tempest arrives at the Titan’s headquarters also appears incredibly fortuitous for the extra-terrestrial invader. Indeed, the pair’s absence, weakly explained as being due to them “being off somewhere” arguing seems unlikely considering Linda Park-West has already made it crystal clear her husband won’t be participating in any adventures for at least the next twenty-four hours; “I wouldn’t say I’m a secret weapon. But you’re going to listen to Donna and Dick…”

Happily however, what this twenty-page periodical debatably lacks in convincing penmanship it makes up for with prodigious pencilling. Whether it be Nicola Scott and colorist Annette Kwok’s awesome-looking regular cover illustration, featuring Beast Boy being surrounded by a veritable menagerie of birds and animals, or a grumpy Peacemaker scrutinising the satellite images of Donna Troy’s battle against the Demolition Team, each and every panel within this comic is incredibly well drawn.

Writer: Tom Taylor, Artist: Nicola Scott, and Colorist: Annette Kwok

Titans #3 - DC Comics

TITANS No. 3, November 2023

Initially depicting a twenty-page plot which strongly suggests that Nightwing’s concerns about Brother Eternity are unfounded and solely based upon the crime-fighter’s prejudicial paranoia, Tom Taylor’s utterly beguiling storyline for Issue Three of “Titans” surely must have lulled a fair few of its readers into a false-sense of security. But whilst Dick Grayson’s dubious infiltration of the Church of Blood certainly seems ill-advised when the trespassing vigilante first penetrates the grand building’s security system. Batman’s former sidekick certainly seems to have been proved right by the comic’s shocking conclusion; “You played your part well in today’s ruse. But I require something more of you. You’re going to visit your friends.”

Intriguingly however, the “New York Times bestselling author” employs a couple of ‘bait-and-switch’ moments involving the cult’s “new telegenic, media-savvy leader” before the super-villain’s true colours and mind-controlling machinations are finally revealed. These ‘ups and downs’ as to whether the book’s central antagonist is truly a victim of those within his shadowy sect who murderously were “a little unsatisfied with the new direction and new management” are convincingly penned, and genuinely make it appear that that the Australian author’s co-creation is trying to make amends for the fanatical organisation’s past offences.

Also well worthy of a ‘shout-out’ is the Melbourne-born playwright’s handling of Beast Boy, who receives plenty of opportunities to demonstrate his insane animal transformation skills during the Titans’ battle against the Church of Blood. Furthermore, Taylor provides Garfield Logan with a palpably moving moment, when he quite literally begs his old-time team-mate Tempest into re-joining the team, only to disappointingly find his plea falling upon deaf ears and be distressingly led away from the emotionally charged confrontation by a softly spoken Raven. 

Perhaps however, a good many of this publication’s considerable accomplishments are also down to the pencilling of Nicola Scott, who somehow manages to imbue many a figure with an almost life-like countenance – even when metamorphosing into a multi-tentacled green-hued octopus. The illustrator is equally as capable of making this comic’s cast come across to the reader as being utterly sincere in whatever they are saying, courtesy of some incredible eyes and heartfelt facial expressions.

The regular cover art of "TITANS" #3 by Nicola Scott & Annette Kwok

Titans #2 - DC Comics

TITANS No. 2, August 2023

Despite not containing any notable super-villain action, unless readers count a short-lived flashback to a time when the Justice League of America easily defeated Brother Blood before the Teen Titans could even break through the door of the cult leader’s nefarious church, Tom Taylor’s narrative for “Out Of The Shadows” still probably entranced the majority of its audience with a number of perplexing puzzles. In fact, this entire twenty-page periodical appears to have been penned simply to provide any perusing bibliophile with a plethora of long-running riddles.

Foremost of these canny conundrums is unsurprisingly the murder of Wally West – albeit the bloody corpse littering the floor of the super-group’s new headquarters is thankfully revealed to be a future incarnation of the Scarlet Speedster as opposed to the team’s current lightning-fast member. Such a serious mystery would arguably dominate many a less well-written publication, but the Australian author actually goes a couple of steps better by throwing in a series of criminally caused large-scale ecological disasters into the mix, alongside the potentially treacherous behaviour of Tempest; “Which is why I’m so pleased that a Titan has chosen to join our ranks.”

Similarly as engrossing though is the way Donna Troy is suddenly elevated to group leader whilst Dick Grayson is busy investigating the Flash’s demise. This sequence cleverly provides the comic with both some tense action as the likes of Beast Boy, Raven and Cyborg battle a devasting forest fire in Borneo, as well as potentially fans the flames for some conflict between Wonder Girl and Starfire as to which protagonist is more suited to supervision. For now, the matter appears to be resolved by Koriand'r acknowledging her friend as a “brilliant tactician”. However, the fact the Amazonian felt the need to question the alien princess in the first place debatably suggests that “Troia” has some issues about the situation in her own mind at least.

Just as good as this book’s storyline is Rachel Scott’s pencilling, which does an excellent job of selling the significantly sized cast’s emotions with some wonderfully expressive facial expressions. This ability, most notably demonstrated when Logan helplessly witnesses a family of orangutans burning to death before his eyes, is highly persuasive that the characters in the comic are ‘real people’ with ‘real feelings’, and resultantly adds an additional connection to the heroes as they enter this “new era for the Titans”.

The regular cover art of "TITANS" #2 by Nicola Scott & Annette Kwok

Titans #1 - DC Comics

TITANS No. 1, July 2023

Ingeniously hooking his audience straight from the start by penning Wally West’s mysterious murder, Tom Taylor’s script for Issue One of “Titans” certainly appears to live up to the ongoing series’ prepublication hype of Dick Grayson’s friends being the “new premier superhero team” in the Dawn of DC Comics’ relaunched universe. Indeed, Garfield Logan, Princess Koriand'r and Donna Troy’s impressive dismantling of a King Kong-sized Titano just outside a nuclear power plant, strongly suggests the upcoming protectors of the Earth are more than “ready for the big leagues.”

Happily however, the “New York Times bestselling author” doesn’t simply pit “the no-longer-teen heroes” against a villainous giant gorilla, but also provides them with a worthy adversary who theoretically should be working alongside them for the greater good of Humanity. The Peacemaker has arguably always been something of a controversial character, considering Charlton Comics’ original creation is essentially a “deadly vigilante who would kill at the slightest provocation”. So his presence representing the President of the United States of America immediately grabs the reader’s attention, especially once he starts feuding with Batman’s protégé; “The existence of the Titans is antagonistic. Do you honestly believe we will allow so much unchecked power to operate freely?”

Similarly as beguiling is the aforementioned death of the Flash to an unknown assassin who shot him straight through the heart from behind at point-blank range. Whether the “Fastest Man Alive” is going to be able to recover from such a terminal wound tantalisingly remains rather murky throughout this “landmark” twenty-four-page periodical, courtesy of the Scarlet Speedster desperately attempting to use the Cosmic Treadmill to change his fate before his lifeless corpse is shockingly found in Bludhaven. Yet many a bibliophile will doubtless become ensnared enough to pre-order this title’s subsequent instalment from their local comic bookstore, so as to find out more.

Ably assisting Taylor in his storytelling are Nicola Scott’s extremely lifelike layouts, whose detailed pencilling, particularly when it comes to the cast’s facial features, appears a far cry from the zany cartoon caricatures seen on the small screen as part of the (Teen) Titan’s 2009 American animated television series. In addition, the Sydney-born illustrator does a fantastic job of imbuing Peacemaker with some almost palpable testosterone when he swaggers out from inside a military helicopter to aggressively confront Nightwing and unsuccessfully lay down the law of the land.

Writer: Tom Taylor, Artist: Nicola Scott, and Colorist: Annette Kwok

DC's Terrors Through Time #1 [Part Three] - DC Comics

DC'S TERROR THROUGH TIME No. 1, December 2022

For those readers who enjoy good old-fashioned Nazi-bashing by some of America’s most memorable super-heroes from the Golden Age of Comic Books, Charles Skaggs’ “The Midnight Hour” will definitely deliver a few minutes of vintage entertainment with its carousel of no-nonsense punches, kicks and ‘in the nick of time’ rescues. But for those bibliophiles who actually like an adventure’s narrative to actually make some sense, the notion of the JSA suddenly disappearing whilst scouring the University of Pennsylvania in 1944 for German agents probably isn’t going to flow all that well; “No, hang back for now. There’s no telling what we might find here or where they’re keeping the Skull of Zosimos.”

To begin with, the entire team are captured ‘off-screen’ by a gaggle of undead goose-stepping goons because Hawkman bemusingly decides that having the Flash “scout ahead” isn’t apparently a good idea. This bizarre evaluation then leads to artist Tom Mandrake having to pencil Carter Hall’s alter-ego suddenly being tied to a sacrificial altar without any explanation being given as to just how the winged protagonist was imprisoned in the first place. To make matters worse, similar befuddling incidents occur for all the other Justice Society’s members, and appear to have been simply manufactured so as to allow Doctor Fate to be the hero of the hour by mind-blasting a luminescent ancient cranium. 

Much more straightforward in its storytelling is “A New Darkness” by Jeremy Haun, which arguably does a first-rate job in depicting the genuinely touching demise of Kar-Von as the Red Lantern attempts to rescue a group of hapless aliens in the Ethow Sector. Crammed with some intriguing characterisation, such as “the legendary wielder of both green and red rings” having to mentor a female member of the Corps who has previously lost her temper, this ten-pager initially seems to have been penned as a foretaster for a future publication focusing upon the two intergalactic law enforcement officers.

However, this notion is shockingly thrown aside when Juan Doe surprisingly sketches Kar-Von stoically battling a giant tentacled extra-terrestrial to a standstill, so his aghast partner can close a dimensional portal behind him and keep the universe safe. So unexpected an ending proves particularly unsettling, and definitely elicits the desire within the audience to learn more about Jan and her new mission to shut the remaining six monster-infested gateways which her ring detects at the tale’s end.

The regular cover art to "DC'S TERRORS THROUGH TIME" #1 by John McCrea & Mike Spicer

Batman: Urban Legends #17 [Part One] - DC Comics

BATMAN: URBAN LEGENDS No. 17, September 2022

Described by “DC Comics” as “a blockbuster issue”, Ryan Cady’s script for “Cold Shoulders” arguably appears to live up to the Burbank-based publisher’s boast by providing this anthology book with a fantastically fast-paced opening yarn featuring Batman and the Flash. However, whilst it is undoubtedly the “Scarlet Speedster” who injects this twenty-page tale with much of its mesmerising momentum. It is perhaps the plot’s focus on Captain Cold questioning just how evil he is willing to be when compared to the murderous machinations of his partner-in-crime, Mister Freeze, which is the highlight of the adventure.

Similarly as sensational is the story’s artwork by Gleb Melnikov, Scott Hanna and Luis Guerrero. The creative team’s depiction of events as respective penciller, inker and colorist genuinely adds to the ever-increasing sense of peril as Barry Allen feverishly attempts to run rings around Gotham in an effort to locate Victor Fries’ secret hideout. Indeed, a lot of the wide-eyed youth’s anguish and sense of desperation to both thwart the villains’ deadly plan, as well as live up to the Dark Knight’s high expectations, are projected through the character’s well-drawn facial expressions and body moments, rather than what Central City’s protector says.

Likewise, the impetus quickly established by Joey Esposito’s excellent “The Sea Beyond” doesn’t let up until Bruce Wayne’s deep sea mission to identify the mysterious source of some catastrophic seismic activity has been completed. Sure, the author’s decision to pen Mera as a debatably dislikeable foil to Aquaman’s good manners and courteousness may well remind many a Silver Age bibliophile of Stan Lee’s writing for the anti-hero, Namor the Sub-Mariner. But her overzealous, sarcastic rants that the Caped Crusader only ‘rules’ on land because her beloved King permits it can easily be forgiven once the three super-heroes enter the ocean; “You’re not listening, Batman! We know the cause. That’s why we’re here. With you. Show him, Arthur.” 

Serg Acuna and Alex Guimaraes also add an incredible amount of energy to this narrative’s telling, courtesy of some truly sumptuous underwater illustrations which genuinely help sell just how far down under the surface the action is taking place. The sheer physical power of the spiralling currents at play are incredibly well sketched, as is this chronicle’s final splash page, depicting the World’s Greatest Detective riding home on the back of a grim-looking Killer Whale.

The regular cover art of "BATMAN: URBAN LEGENDS" #17 by Jim Cheung & Jay David Ramos

DC Vs. Vampires #2 - DC Comics

DC VS. VAMPIRES No. 2, January 2022

Significantly upping the scales as to just who does and doesn’t know that “the war for the very survival of the human race has begun”, James Tynion IV and Matthew Rosenberg’s script for Issue Two of “DC Vs. Vampires” definitely crams an awful lot of deadly dynamic action, blood-curdling betrayals, and even some tongue-in-cheek humour into its twenty-two pages. In fact, the pacing of this periodical is seemingly so ‘spot on’ that even a somewhat dialogue-heavy sequence featuring the World’s Greatest Detective slowly explaining just how deadly the situation actually is to the rest of the Bat-Family absolutely flies by; “The truth is that after a week of investigating… I have no idea who we might be facing.”

Arguably foremost of this comic’s biggest thrills however, is the way in which the treacherous Hal Jordon goes about his business slowly murdering any meta-humans who might pose a threat to his mysterious master’s grand scheme for planetary conquest. This book’s opening is a great example of this, where the Green Lantern savagely “kills the powerful necromancer Anton Arcane” without a moment’s hesitation, and does a terrific job in setting up the writing duo’s shocking conclusion when the merciless, ring-powered vampire fatally ‘sucker-punches’ his long-time friend, the Flash.

Enjoyably though, “Blood And Sand” isn’t just about depicting a chilling escalation in the destruction of the Justice League either, but also incorporates some distinctly dark moments of comedy too. No readers could be blamed for literally laughing out loud when Oliver Queen nonchalantly reveals Everyman to be a creature of the night much to the aghast astonishment of Star City villains Brick, Cheshire, and Cupid. Whilst young Damian Wayne’s suddenly violent outburst when he believes his father has poisoned his hot cocoa with holy water is masterfully penned.

Complimenting all these well-authored antics are Otto Schmidt’s layouts, which do a truly tremendous job of illustrating all the drama taking place within the “DC Comics” universe, such as when Barry Allen suddenly realises that his fully-trusted comrade-in-arms means to slaughter him. Yet the Siberian-born artist also does a stellar job in pencilling the emotional impact of this sweeping storyline’s events upon the likes of a tearful Wonder Twin Jayna, who is very concerned over her sibling Zan since he went missing several days ago.

The regular cover art of "DC VS. VAMPIRES" #2 by Otto Schmidt

Hal Jordan And The Green Lantern Corps #44 - DC Comics

HAL JORDAN AND THE GREEN LANTERN CORPS No. 44, Early July 2018

Featuring a truly gripping opening as the demented Darkstar Tomar-Tu suddenly surprises Keith Kenyon’s alter-ego inside Central City’s Iron Heights Penitentiary, and cold-bloodedly murders Goldface whilst he's 'sleeping off' a custodial sentence for knocking “over a couple of jewellery stores”, Robert Venditti’s narrative for this inaugural instalment to “Enemies Closer” sadly soon degenerates into little more than a disinteresting recruitment drive for the Green Lantern Corps. True, the comic’s subsequent brief cameo from “the fastest man alive” is enjoyable enough, especially when it initially appears that Barry Allen's incarnation of the Flash will be teaming-up with Hal Jordan to further investigate the gold-skinned prisoner’s partial disintegration. But before long all the Florida-born writer’s plot actually provides is a string of scenes featuring fleeting appearances from the likes of Guy Gardner, Arkillo, Kyle Rayner, John Stewart and General Zod.

These word-heavy, dialogue-driven sequences would arguably be perfectly stomachable if they were interwoven between some pacier, action-orientated panels, yet as they stand the constant conversations and dreary discussions arguably do little to encourage any perusing bibliophile to keep on reading. Indeed, in many ways the former “Top Shelf Productions” author may well have been better served to simply have extended either the renegade Kryptonians all-too brief violent altercation with the “second African-American superhero to appear in DC Comics”, or alternatively bring forward the titular character’s cliff-hanger confrontation with the “boss turnkey” Atomic Skull, and leave part of this twenty-page periodical’s patter for its following publication; “You’ve miscalculated… You’re alone! One meagre ring against a family of Kryptonians gifted with the power of this world’s yellow suns!”

One thing Issue Forty Four of “Hal Jordan And The Green Lantern Corps” does not suffer with however, is substandard artwork. Whether it be Jordi Tarragona and Rafa Sandoval’s outstanding cover illustration, which rather delightfully seems strangely reminiscent of the classic “Judge Dredd” ‘I am The Law’ covers used for the “weekly British science fiction-orientated” anthology comic “2000 A.D.”, or Brandon Peterson’s boldly coloured, highly-detailed story-boarding, this book is a treat for the eyes. In fact, what little energy this magazine potentially generates, such as Joseph Martin’s sensational entrance to thwart Hector Hammond’s shock escape from Stryker’s Island, is debatably due to the “X-Men spinoff” illustrator rather than anything which Venditti himself has penned.

The regular cover art of "HAL JORDAN AND THE GREEN LANTERN CORPS" No. 44 by Rafa Sandoval, Jordi Tarragona & Tomeu Morey

Dark Knight III: The Master Race #5 - DC Comics

DARK KNIGHT III: THE MASTER RACE No. 5, August 2016

The sixth best-selling title of June 2016, at least according to “Diamond Comic Distributors, Frank Miller and Brian Azzarello’s script for Book Five of “Dark Knight III: The Master Race” finally provided it audience of 139,919 readers with a glimmer of hope that the "dystopian near-future version of Gotham City" would not become irreparably ravaged by the recently restored inhabitants of Kandor. Indeed, for a narrative partially penned by a writer “noted for combining film noir and manga influences in his comic art creations”, the plot to this twenty-three page periodical arguably contains an incredible amount of optimism, faith and just the occasional moment when one can almost hear the opening notes of John Williams’ theme to “Superman”…

Foremost of these marvellous moments must undeniably be Robin’s miraculous voyage to the dark depths of the ocean floor, some “twenty thousand leagues under the sea”. Accompanied by Aquaman riding a gigantic Hammerhead shark, a cohort of squid-riding Atlanteans and a whole posse of Anglerfish, Carrie Kelley’s successful search for Superman’s black matter tomb and the Man of Steel’s subsequent escape proves to be a genuinely uplifting experience, especially when it transpires that as far as Kal-El is concerned “it seemed centuries had passed” since he allowed his daughter to best him in a fist-fight and that "was all the time I needed to search my soul. Do you want to save the world?"

Equally as heart-warming is the Palme d'Or nominee’s conclusion to this publication. With the re-emergence of Clark Kent’s alter-ego, alongside the appearance of the Flash, Wonder Woman and Atlantis’ King, it is potentially all too easy to forget that this mini-series is actually the continuation of Miller’s story concerning an “aged Bruce Wayne.” This reality truly bites home when Batman squares off against one of the Kryptonians, who despite being robbed of his super-powers due to being drenched in synthetic Kryptonite, quickly shows the Caped Crusader why the old man “shouldn’t physically engage” as he is “not really in the shape to.” Fortunately however, an armour-encased Superman suddenly appears at the Dark Knight's side, informing his elderly friend not to worry, as “I got your back.”  

Disappointingly, far less enjoyable, or even understandable, is this comic’s mini tie-in “Dark Knight Universe Presents: Lara”. Focusing upon Baal’s childish attempt to woo Wonder Woman’s daughter by murderously hurling a car of humans into the air and then ‘stealing’ a kiss from her, the dislikeable killer perhaps unsurprisingly receives a foot to the mouth for this troubles. But then seems to win her heart despite the terrorist clearly standing for everything which the girl’s parents passionately stand against…

Story: Frank Miller & Brian Azzarello, Pencils: Andy Kubert, and Inks: Klaus Janson

The Brave And The Bold #194 - DC Comics

THE BRAVE AND THE BOLD No. 194, January 1983

It’s hard to imagine what inspired Mike W. Barr into penning this twenty-three page periodical’s plot based upon a motivational therapist counselling “the Rainbow Raider and Doctor X to take on each other’s super-heroic opponents… and defeat them.” But whatever it was certainly created one of the more ludicrously unusual tales for the long-running title and could arguably be suggestive as to just the why “The Brave And The Bold” was cancelled by “DC Comics” just six issues later.

Certainly the American writer’s rather farcical prologue leaves a fair bit to be desired as an overly confident bespectacled Professor Andrea Wye somehow manages to convince the depressed “three-time-loser” super-criminals Roy Bivolo and Doctor Ecks that by simply repeatedly chanting “I believe in me” they can somehow remove their “negative thinking caps”, “shatter the[ir] chains of nega-think” and best the formidable duo of Batman and the Flash. Admittedly the counsellor’s method, recommended in her new book “Be All The Person You Can Be”, does prove to be a short-lived success. But only because Barr’s contrived narrative bestows upon both the Scarlet Speedster and Dark Knight an incredulous amount of incompetence and coincidental bad-luck.

Simply because Barry Allen supposedly “is far from the Batman’s equal in intellect” should not mean that the super-hero can be so easily manoeuvred into an unavoidable blast from Doctor X; especially one which is delivered along an underground pipe that the villain fortunately “sensed ‘neath the ground” whilst the trio are battling in the middle of the countryside. Similarly, if all the Rainbow Raider has to do to defeat Batman is create an unbreakable prison prism around him whilst the Caped Crusader is “trying to avoid a multi-coloured sunburn” then why doesn’t Bivolo defeat all his foes so easily?

Just as disappointing is the thinking behind this comic’s “showdown”, as having clearly done some incredibly detailed research into both her patients and their prey, the Professor apparently forgets about the Flash’s “super-speed metabolism” and thus fails to inject him with enough sedative until after she has “induce[d] these heroes to reveal the secrets they possess… The secrets of the Justice League Satellite and time-travel, among others…” Once free the Crimson Comet unsurprisingly rescues Batman by matching the frequency of his prism prison, and then preposterously detains Doctor X by merely dousing him and his "banished" brother with water.

Dishearteningly the artwork for this book by Will Eisner Award Hall of Famer Carmine Michael Infantino is equally less than inspiring, with many of the magazine’s dialogue-laden panels being drawn with the characters rather tediously just stood side-on to one another. Somewhat encouragingly the New Yorker’s pencilling does become rather more energised during the fight scenes. But even these sequences contain some rather wooden and uninspiring illustrations, such as Batman’s rather robotic-looking punch upon the Rainbow Raider whilst flying across the city’s skyline via a bat-line.

Writer: Mike W. Barr, and Guest Artists: Carmine Infantino & Sal Trapani

The Brave And The Bold #151 - DC Comics

THE BRAVE ND THE BOLD No. 151, June 1979

Undoubtedly a 'child' of the Late Seventies, “The Disco Of Death” is as fantastically corny and riddled with the ambience of the 1977 American dance film “Saturday Night Fever” as its horribly trite story title would suggest. Indeed this seventeen-page periodical even dares portray the oft-times moody socialite Bruce Wayne not only taking to the dance floor “choked with gyrating bodies, rocking with sound and pulsating with whirling lights”. But also has the billionaire ‘bogeying on down’ with jetsetter Rhonda to “Staying Alive” whilst wearing a flashy white “John Travolta” leisure suit drawn by legendary series artist James “Jim” Aparo; “Ha! Ha! Come on, Bruce -- You don’t want Batman being the only “secret swinger” besides Alfred in town!”

This tongue-in-cheek comical portrayal of the Caped Crusader’s public persona surprisingly actually gets wincingly worse though once Bob Haney’s script has the Scarlet Speedster, Barry Allen, and his “liberated” wife join the partying Industrialist under the disco ball. For the two superheroes encounter the freakish-looking “Phantom of the Stardust”, complete with operatic horror mask, and having watched the cloaked scintillating performer ‘show up from nowhere, dance for hours with one foxy knocked out chick and then vanish’, quickly realise that the “bizarre figure” is actually responsible for at least “two unexplained deaths” at “The Stardust Discotheque!”

Such a dramatic deduction fortunately however proves to be the making of this book’s storyline, and seems to give the co-creator of the “Teen Titans” the opportunity to turn the “chauvinist devil” Wayne back into the thug-bashing night-time detective the cowled character was originally envisaged by Bob Kane as being. Whilst simultaneously providing the infinitely more colourful “Monarch of Motion” a far more fittingly light-hearted solo-mission “chasing figments of his own imagination” by trying to get “a ghost to free a ghost!”

Admittedly some of the “DC Comics” long-time writer’s plot points do become rather contrived as a result, such as the Flash’s blasé use of “his amazing Cosmic Treadmill to race back through the time barrier to the 1930’s” in order to photograph the Phantom’s dancing dead girlfriend and Batman’s miraculous discovery that Allen's spouse Iris is a ‘dead-ringer’ for Jack Dawes’ deceased Emily. But there again this entire hokey Haney narrative is based upon the whacky premise of a Prohibition-era spectral murderer disco-dancing his victims to death…

Writer: Bob Haney, Artist: Jim Aparo, and Colorist: Jerry Serpe

The Flash #3 [The New 52] - DC Comics

THE FLASH No. 3, January 2012

Midway down the second page of Issue Three of “The Flash” is the line “I didn’t get a manual with my powers.” But if this comic book’s opening is anything it is a reader’s guide to the formidable super-powers of Barry Allen’s Scarlet Speedster; at least as far as the creative writing team of Francis Manapul and Brian Buccellatop are concerned. And what a wish-list of extraordinary abilities it is too.

The Flash is fast, so fast in fact that he can run on water without sinking, he can create and direct vortexes using his hands, and he has the ability to vibrate through solid objects. He can also make other objects similarly oscillate in order for them too to pass through dense matter, and actually demonstrates this incredible power by shaking a large airliner so fast it safely passes straight through a motorway bridge and comes to a shuddering halt alongside Central City docks. Oh… he can go invisible as well apparently. Clearly he’s learnt a few extra tricks since ‘The New 52’ started…

Unfortunately for this issue however Filipino-Canadian artist Manapaul  hasn’t. The (already overly expensive) variant cover by Jim Lee, Scott Williams and Alex Sinclair is a beautiful illustration containing both a cracking drawing of The Flash and some gorgeously vibrant colouring. Manapul’s version pales in comparison, with a muted purple and white theme which simply makes the drawing appear half-hearted and unfinished.

His interior artwork is equally as lacklustre and uninspiring, though Buccellato should take some of the responsibility for the depressingly drab colour choices. I’m also unconvinced by some of the pair’s decisions regarding the arrangement of the panels on various pages. The multiple windows within a single page showing Allen’s brain tapping into the Speedforce has been seen before, and much more convincingly too.

But apart from showing how clever they are, I can’t work out the reasoning behind the first page’s airliner shaped montage comprising of an ‘over the shoulder’ view of the plane’s cockpit as it crashes towards the freeway bridge. Especially when the entire drawing is partially buried as a result of the title “Flash” being emblazoned down the illustration’s length in a rather rude choice of orange. The ghastly font used to spell out "DC Comics proudly presents..." makes the entire page appear amateurish at best.

The variant cover art of "THE FLASH" No. 3 by Jim Lee, Scott Williams and Alex Sinclair