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

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

Considering just how enjoyable this anthology’s opening tales are it is somewhat surprising that neither one is directly referred to in the Burbank-based publisher’s solicitation for Issue One of “DC’s Terrors Through Time”. Indeed, Paul Levitz’s “The Longest Night” sets a suitably dark, engrossingly grim tone for this hefty-sized “terrifying tour across the ages from some of comic’s top talent” by focusing upon the joyless solitude of the Phantom Stranger and his endless vigil guarding the innocent against the sinister desires of the undead; “Why does this night open the gate between life and death, and why give me the responsibility to watch over it..?”

In addition, this ten-pager is well-drawn by Raul Fernandez, who despite the drama's dialogue-driven wordiness, still manages to add plenty of “Blam” to its pulse-pounding proceedings as Carmine Infantino’s co-creation flitters through time during Halloween in an effort to thwart everything from early pilgrims, displaced Native Americans and Chinese demons from feasting upon the souls of the living. Coupled with a suitably sombre palette by colourist Santi Arcas, the illustrator’s panels depicting an attack upon a pair of adolescent brothers by the land’s ferocious-faced indigenous people is highly creditable, with the spooky “righteous spirits” being given an opportunity to air their grievances despite the brevity of the yarn.

Significantly lighter in its tenor, though ultimately just as engaging, is “Trick Or Treat” by Sholly Fisch. Admittedly, there will be some within this publication’s audience who will find this tale’s start somewhat slow, due to its focus upon the Super Sons and their series of unsuccessful visits to a plethora of super-hero’s homes so as to acquire sugar-filled candy bars. However, once Superboy and Robin arrive at the Grand Hall of Justice and inadvertently stumble into their parents’ battle against the formidably magical Demons Three, things definitely start to hot up plot-wise.

Indeed, along with Luciano Vecchio’s prodigious pencils and Wendy Broome’s marvellous purple-hued assault upon the senses, this part of the two boys’ adventure is arguably one of the highlights of the entire comic, as both protagonists employ wits over sheer strength to ultimately defeat the impish-looking Abnegazar, Rath and Ghast. Furthermore, the Argentinian illustrator’s sketches showing the Super Son’s bravely battling their demonic foes are packed full of dynamic action to the point where it is a real pity the fight scene wasn’t extended by at least another page or two.

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

DC Vs. Vampires #8 - DC Comics

DC VS. VAMPIRES No. 8, October 2022

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

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

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

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

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