The Incredible Hulk [2023] #26 - Marvel Comics

THE INCREDIBLE HULK No. 26, August 2025

For any bibliophiles eagerly anticipating a pulse-pounding punch-up between this comic’s titular character and Bucky Barnes, Phillip Kennedy Johnson’s storyline for Issue twenty Six of “Incredible Hulk” will probably prove downright discouraging. In fact, the Winter Soldier debatably barely contributes to this book’s overall narrative much at all, thanks to his battle being brought to an infuriatingly short end by Charlie Tidwell’s well-meaning intervention; “You’re… my hero, Bucky. You and Cap were my actual heroes. I wanted to be you since I was a little kid.”

Instead, the American author suddenly imbues the Green Goliath’s sidekick with the convenient ability to somehow enter the apocalyptic-looking Hulkscape in order to visit Bruce Banner’s heavily imprisoned persona. This quite lengthy sequence is debatably as uninteresting as the wilful adolescent’s new found ability is immensely opportune, and disappointingly doesn’t even show what manner of dreadful fate has actually befallen the gamma radiologist’s tortured identity.

What this apparently truly terrifying revelation is supposed to cause though, is for the “stalwart teenage companion” to inadvertently stick half her face into a roaring campfire in the real world, and then transform back into the winged werewolf form she acquired from the mother of all Skinwalkers, Lycana. Little of this frantic action arguably makes much sense, apart from the “kid” clearly not wishing to be a murderous monster, and may well leave many a reader gazing up into space dumbfounded by what they’ve seen – just as an utterly bemused Hulk does when Tidwell dramatically flies off into the night’s sky at this comic’s end.

Quite possibly also adding to much of this twenty-page periodical’s disappointing dullness are some of the layouts drawn by Kev Walker. The GLAAD Media Award-nominee’s pencilling really seems to be stretched beyond breaking point by this book’s script, thanks largely to the British illustrator apparently struggling to come to grips with a long-haired Hulk who doesn’t look plain dumb. Indeed, this publication would likely have proved far more pleasant to the eyes if the style used for the aforementioned Hulkscape segment, which appears to have been possibly painted rather than drawn, had been used throughout, rather than the harsh, somewhat cartoony visuals, which the artist is better known for.

The regular cover art of "THE INCREDIBLE HULK" #26 by Nic Klein

Thunderbolts: Doomstrike #4 - Marvel Comics

THUNDERBOLTS: DOOMSTRIKE No. 4, July 2025

Largely focused upon Doctor Victor Von Doom verbally sparing with a heavily chained-up Bucky Barnes, this twenty-page periodical’s writers still manage to do a good job in imbuing the speech bubble-laden spate with plenty of tension and dynamic drama. Indeed, Jackson Lanzing and Collin Kelly’s handling of Latveria’s tyrannical ruler is seemingly spot on, as the armoured super-villain projects an almost palpable mixture of sheer arrogance and a desperate, almost juvenile need for his opponent to succumb to his twisted vision of the world; “Would you like to feast with Doom in the light of objective truth.? Then say it.”

Furthermore, this enthrallingly claustrophobic set-piece surprisingly isn’t in any way diminished once the Fantastic Four’s arch-nemesis angrily departs either, with the Eisner Award-nominee’s actually appearing to ‘up the stakes’ once Valentina Allegra de Fontaine begins to ‘interrogate’ the Winter Soldier on her own. Admittedly, much of the Silver Age sorcerer’s physical (and magical) menace is replaced by the Countess’ seductive feminine wiles. But there can be no doubt that the Thunderbolts’ one-armed leader is in just as much physical jeopardy with Citizen V’s catlike grip as he was whilst Jack Kirby’s co-creation was torturing him with the Psi-Temples of He Who Mourns In Memory. 

Disappointingly though, the rest of the storytelling inside Issue Four of “Thunderbolts: Doomstrike” arguably isn’t as well-penned, with Natasha" Romanova’s recruitment of a second strike team occurring in a decidedly choppy manner. Much of this confusion is debatably caused by the American authors desperately trying to demonstrate just how fast and stealthy an operative Black Widow can be when highly motivated. However, in having the former Russian assassin leap from one scene set thirty thousand feet above the Pacific Ocean straight into another based some ninety-eight miles from the Texas/Mexico border, the collaborative pair simply generate a ton of unanswered questions in the audience’s mind – not least of which is why the Agent of S.H.I.E.L.D. selected who she did, and how she physically located/visited them..?

Similarly as ‘hit and miss’ are artist Tommaso Bianchi’s lively layouts, which largely manage to convey all the Machiavellian menace any comic book audience would expect of a yarn spotlighting Victor Von Doom. Yet every now and then the Varese-born illustrator’s panels don’t debatably fully deliver on what is supposedly happening in the script, such as when Songbird screams so as to probably damage/destroy the flying craft she’s aboard, or Ayo and Aneka are presumably conducting some covert mission in Wakanda when they’re spotted by winged Doombots..?

The regular cover art of "THUNDERBOLTS: DOOMSTRIKE" #4 by Leinil Francis Yu & Romulo Fajardo Jr.

The Incredible Hulk [2023] #25 - Marvel Comics

THE INCREDIBLE HULK No. 25, July 2025

Loudly lauded by its New York City-based publisher as the “most epic rematch in Marvel history”, Phillip Kennedy Johnson’s oversized, thirty-page plot for Issue Twenty-Five of “Incredible Hulk” certainly had an awful lot of expectations to live up to. And delightfully, this brutal battering between two of the Avengers’ founding members delivers precisely that. Indeed, for those bibliophiles who enjoy an all-out slugfest, this comic’s sole disappointment is that the pulse-pounding pugilism stops dead in its tracks just as it looks as if the Green Goliath is going to continue clobbering the Warriors Three straight into next month's instalment too; “Perhaps… I was hasty. Perhaps it is not the beast I face of old.”

Almost as entertaining as this book’s central thread though has to be the backstory to Thor’s first confrontation with Lycana, which is dramatically penned by the American author as if it were an old Asgardian myth. Quite beautifully pencilled/coloured by Nic Klein, this sub-story smacks of the distrust a village of aging veterans would have when approached by a young, unknown warrior who is stalking a shape-shifting killer, and resultantly provides this tome with a strongly contrasting pace to all the aforementioned punches, kicks and blows, as the God of Thunder carefully investigates old Arne’s trembling testimony.

Encouragingly, at least for those readers who wish to see some redeeming features exist within the titular character's adolescent travelling companion, this comic also shows Charlie Tidwell demonstrating some uncharacteristic common sense during her time with Odinson. Rather than angrily transform into the mother of all skinwalkers as she ordinarily does whenever things don't pan out precisely as she naively wants them to, the young girl actually tries to rationalise with her super-strong would-be abductor, and quite disconcertingly appears to be the only member of the book’s cast to exhibit any real sound judgement throughout the incredibly tense situation.

By far this publication’s biggest hook however, has to be the incredible artwork of its German illustrator, who produces some absolutely astonishing masterpieces throughout this tome. Of particular note is the huge sunken sea vessel with which the Hulk whacks Thor straight back up to the Rainbow Bridge. But this is just one of several colossal blows which quite literally leap off of the printed page, and makes all onlookers genuinely feel the physical, bone-shaking impact of each colossal connection.

The regular cover art of "THE INCREDIBLE HULK" #25 by Nic Klein

Black Widow #15 - Marvel Comics

BLACK WIDOW No. 15, May 2022

Sadly bringing this ongoing series’ “legendary run” to an end, Kelly Thompson’s narrative for Issue Fifteen of “Black Widow” certainly seems to do a job good in both wrapping up the comic’s latest sense-shattering shenanigan, as well as leaving the book’s audience asking for more stories about Natasha Romanoff’s increasingly close super-heroic family. Indeed, towards the end of this twenty-page periodical’s plot, the “Eisner-winning” writer makes a remarkable habit of penning some the Soviet agent’s ongoing adversaries conducting a successful break for freedom so they can live to fight another day; “Your honour spared my life once before, and I do the same for you now.”

Foremost of these intriguing ‘open-ends’ is arguably the defeat of the Living Blade, after the mysterious swordsman is stopped short of slicing up a clearly battle-weary Yelena Belova. Perhaps somewhat disappointingly, the pair’s apparently epic confrontation isn’t actually covered by this publication due to the action following the titular Avenger first and foremost. However, considering that it is made somewhat clear that the injured “exemplar trainee in the Red Room Academy” wouldn’t have survived her duel for much longer if not for Natalia’s swashbuckling intervention, it doesn’t bode well for Romanoff’s future when she later grants the cold-blooded killer clemency.

Likewise, there’s the suggestion that the selfish Twins, Liv and Lars, plus Aldrich Lux Voss, will surely crop back up like a bad penny once the New York City-based publisher decides to produce another comic based upon the Black Widow’s exploits. The sudden departure of the odious platinum-blonde doppelgangers just as Spider-Girl needs their physical help to fend off a flurry of the Host’s pistol-toting henchmen is particularly perturbing, as their unappreciative abandonment comes just as Lucy Nguyen has literally brought one of them back from the brink of death with her “volatile electric” abilities.

Of course, alongside this book’s enthralling authorship are its eye-catching layouts by Elena Casagrande, Rafael T. Pimentel, Elisabetta D’Amico and Jordie Bellaire. The mix of pencilers, inkers and colour artist do an excellent job in conveying the rising tension of the superspy’s swansong by providing some genuinely pulse-poundings panels, such as those depicting the Winter Soldier single-handedly stopping a heavily-guarded Host from escaping aboard a helicopter, and Natasha’s awesomely-acrobatic final clash of swords against the Living Blade.

The regular cover art of "BLACK WIDOW" #15 by Adam Hughes

Black Widow #12 - Marvel Comics

BLACK WIDOW No. 12, December 2021

Restricted to just twenty pages, Kelly Thompson somehow manages to cover an incredible amount of ground with her script for Issue Twelve of “Black Widow”. Indeed, the Eisner Award-winner's technique of populating this periodical with a number of insights into the leading cast members’ motivations, followed by an increasingly fraught covert mission to infiltrate a mysterious “high society group” arguably allows her to pen the perfect mix of characterisation and action-packed super-heroic action; “Next time you wish to use me as a pommel horse, please ask.”

One such success is undoubtedly the sense of vulnerability the American author manages to imbue this comic’s titular character with straight from the start. It’s debatably difficult to imagine Natasha Romanoff having any sort of weakness, but the Avenger’s obsession as to how her infant son is developing whilst in hiding from her deadly foes is wonderfully written, as is her evident anger at the Winter Soldier when she chides him for letting her people find James and Stevie despite him supposedly protecting their identities from such enquiries.

Likewise, the unfurling of Romanova’s plan to discover just what is actually occurring at the Golden Gate Gala is equally as well delivered, with all the ex-Soviet spy’s numerous contingencies quickly failing during the time it takes for a single dance with the annual benefit’s glamorous host. Considering that a number of players within this game are Avengers, such as the smart-mouthed Hawkeye, the dread slowly creeping across Black Widow as she is increasingly outwitted by her unknown foe is actually quite palpable.

Adding enormously to the deepening sense of fear in the former KGB agent is Elena Casagrande’s pencilling, which goes a long way to show just how decadently opulent and disconcertingly violent San Francisco’s criminal world is. Natasha and Yelena Belova’s pulse-pounding battle with a corridor of animal mask-wearing goons is probably the highlight of this comic. Yet it is the Italian illustrator’s handling of Romanoff catching sight of the mythic Living Blade at this book’s end which will most likely remain within the reader’s mind, courtesy of some wonderful blurring of her line art so as to provide some forced perspective, and a truly haunted look in the defector’s piercing green eyes.

The regular cover art of "BLACK WIDOW" #12 by Adam Hughes

Black Widow #5 - Marvel Comics

BLACK WIDOW No. 5, April 2021

Featuring one of the most emotional incarnations of Natalia Alianovna Romanova arguably ever seen within the pages of a “Marvel Worldwide” publication, Kelly Thompson’s superbly enthralling narrative for Issue Five of “Black Widow” must surely have gone down well with its audience. For whilst it might be hard for some of the super-spy’s fans to reconcile the ex-K.G.B. agent's heartfelt grief at the sudden loss of both her beloved husband and infant son inside a horrendous fireball with that of the ordinarily cold-hearted killer, the sheer sense of deadliness these deaths bestow upon the black-suited assassin is truly palpable; “Natalia. People are coming to kill us. We must kill them instead. You must put aside your grief and move. There will be time for grief later. I promise you. It is not going anywhere anytime soon.”

This disconcerting sense that an Avenger may well kill if provoked strongly enough is additionally heightened by Hawkeye shooting the Weeping Lion straight through the head whilst the criminal is foolishly trying to set his sniper rifle’s sights upon the world famous archer. Perhaps somewhat disappointingly, this debatably defining moment loses some of its gravitas when it is later revealed by Yelena Belova that the crime-lord simply “lost his eye”, but it is the thought that counts, especially when Clint Barton later willingly sets off an explosive arrow within a warehouse crammed full of hapless Hydra goons.

Romanoff’s sister-in-arms, Clone 3, also makes a lasting impact within Thompson’s finale for “The Ties That Bind” story-arc, when she literally smacks a distraught Natasha to her senses one moment and then lays down a serious beating upon the Viper in the next. Indeed, Belova’s battle against an absolute horde of Madame Hydra’s seriously outfought henchmen is one of the highlights of this comic, and the notion of her subsequently accompanying the titular character as a partner-against-crime in future instalments will doubtless have proved an irresistible hook for many readers.

Pulling all this book’s numerous punches together into a visual treat for the eyes, is Elena Casagrande and her marvellous ability to interject the savage violence which Thompson’s narrative demands with some superbly endearing moments, such as when the Black Widow briefly cuddles her dead son’s toy duck. However, the Italian artist’s finest moment within this twenty-page periodical has to be her double splash of Hawkeye watching from a high roof rafter as both Romanoff and Yelena dispatch numerous goons with a variety of kicks, missiles and bullets.

The regular cover art of "BLACK WIDOW" #5 by Adam Hughes

Web Of Black Widow #5 - Marvel Comics

WEB OF BLACK WIDOW No. 5, March 2020

As conclusions go, Jody Houser’s revelation in Issue Five of “Web of Black Widow” that Natasha Romanoff knew right from the start of this mini-series that she was being watched by a woman who was somehow connected to her “missing memories”, must surely have been viewed by many of this comic’s readers as a horribly contrived anti-climax. Indeed, the very notion that the ex-KGB assassin had choreographed her confrontation with Iron Man, ferocious fist-fight with the Winter Soldier, and brutal battle against Hawkeye, all in order to simply elicit an account from her doppelgänger as to how “a special virus… made out of Epsilon Red’s own DNA” was blocking her implanted memories, makes a complete mockery of what had been a thoroughly enjoyable and suspenseful ‘spy-fi’ tale.

True, the rationalisation behind Clint Barton’s wholly unlikeable behaviour in the publication’s previous instalment when he appeared utterly convinced as to the “rumours of Widow’s villainy”, makes much more sense, especially his “actually shooting her with an arrow”. Yet such a horribly convoluted narrative undoubtedly diminishes the much-lauded clandestine abilities of the titular character, by having the Russian secret agent simply play the role of a Judas goat, rather than covertly investigate her mysterious enemy’s possible connection to her past using her tactical expertise in espionage and obtaining confidential information. In fact, this veteran hand-to-hand combatant (and mistress “of various other weapons”) is depicted as even needing the intervention of Captain America in order to defeat the Headmistress in a one-on-one rooftop confrontation; “But sometimes an old man likes to feel useful.”

Perhaps this book’s only saving grace is therefore Stephen Mooney’s dynamically-drawn fight sequences, which at least provide this twenty-page periodical’s audience with an occasional thrill. Considering that the Black Widow has an arrow shaft in her side and been shot in the leg, it is somewhat difficult to imagine her being quite so athletic in her impressive backflips and somersaults as the Irish artist would have any perusing bibliophiles believe. But that unrealism doesn’t notably detract from the sheer savagery of his pencilling once Romanoff and Anya finally come to trade vicious blows, and the blood starts to freely flow…

The regular cover art of "WEB OF BLACK WIDOW" No. 5 by Junggeun Yoon

Web Of Black Widow #2 - Marvel Comics

WEB OF BLACK WIDOW No. 2, December 2019

Featuring an opening scene which is somewhat reminiscent to that of Angelina Jolie’s 2003 action-adventure film “Lara Croft: Tomb Raider – The Cradle of Life”, there’s a lot of mounting tension to enjoy with this comic’s depiction of Natasha Romanoff stealing on board a gigantic cruise liner whilst it glides through international waters. Indeed, many fans of the Russian assassin possibly may even have felt that Jody Houser’s portrayal of the deadly spy infiltrating the luxurious Collins Financial Bindbucks launch party provided this twenty-page periodical with the perfect beginning, especially as the titular character seemingly uses almost every trick in the secret agent’s book to pass through the seafaring vessel’s overt security. 

Lamentably though, all of this well-penned spy-fi atmosphere is quickly ruined by the abrupt appearance of Bucky Barnes, who astonishingly materialises in the bedroom of the Black Widow’s target having apparently been pre-warned by his “masters” that she “might be stopping by.” This debatably contrived confrontation between the two former lovers does admittedly swiftly provide this publication with some debatably needed high-octane action, courtesy of Stephen Mooney pencilling the pair swapping all manner of punches and kicks with one another.

Yet none of these forceful fisticuffs can possibly make up for the American author literally crowbarring the Winter Soldier into her narrative on the happenstance that “Collins got wind you [Romanoff] were coming” and so “relocated the computer setup.” In fact, by the time Natasha’s fight has seen the deadlocked duo crash through the cabin’s double-doors and spill out into the corridor right in front of two gun-toting guards, it is seemingly clear that any pretence of this story being an edgy thriller has disappointingly dissipated; “Please make your way to the lifeboats in a calm and orderly fashion.”

Similarly as perplexing, albeit in a good way, is the sudden inclusion of an unknown killer who appears capable of impersonating the Black Widow and committing cold-blooded murder whilst wearing so convincing a ‘digitally-created disguise’. This antagonist clearly knows much about the “web of deceit” encircling Stan Lee’s co-creation, having fleetingly featured at the very end of this mini-series’ first instalment, and resultantly provides a tantalising hook for any perusing bibliophile to pick up Houser’s next issue of “Web Of Black Widow”.

The regular cover art of "WEB OF BLACK WIDOW" No. 2 by Junggeun Yoon

All-New Invaders #2 - Marvel Comics

ALL NEW INVADERS No. 2, April 2014

There’s something vaguely unsatisfying about Issue 2 of “All New Invaders”; a sense that none of the expectations generated by this title’s exciting opening edition are actually met. Indeed in many ways there’s a real ‘step backwards’ feel to the book, as a lot of its content actually concentrates on events which took place before those of the previous issue.

This aura of disappointment frankly starts with the comic’s cover by Mukesh Singh, which is a disconcertingly awkward looking illustration of the bombastic Tanalth standing in triumph over the broken bodies of Captain America, the Winter Soldier and the original Human Torch; the latter of which seems to have obtained arms the length of which would rival an orang-utan. Any artwork depicting a book’s titular super-heroes being both so brutally bowed and beaten is going to be a depressing sight. But it is the composition of Singh’s artwork, such as the bright red boot of ‘Cappy’ oddly jutting out from beneath the dark green cape of the Kree High-Elite, which jars the eye.

In fact there’s a good deal of this comic book’s artwork which appears somewhat off key and as such actually caused me to believe that the title’s main artist had changed between issues. Certainly the opening few pages capturing the action of a night-time fire-fight between James Barnes and the Kree in the streets of Vienna are below the usual standard of Steve Pugh. Bizarrely the British artist’s illustration work during the Invaders battle against the Pursuer in Blaketon, Illinois isn’t all that much of an improvement either, with the eight-page action-sequence containing poorly detailed figures, oddly exaggerated limbs and an increasingly podgy Tanalth.

Perhaps most displeasing though is the outcome to the comic’s climatic confrontation between the former World War Two freedom fighters and the arrogant, overbearing and overconfident leader of the Kree Purser Corps. Writer James Robinson has Captain America describe Tanalth as being “…on a par with Ronan from the look of [her] powers and invulnerability” so defeating the Kree High-Elite was always going to be a tough challenge for a trio armed with just a shield, a bionic arm and the ability to produce some seemingly non-effective flames. But to have a battle which has technically spanned two issues, suddenly just end with Tanalth simply flying off for no other reason than she can is extremely disappointing; especially as moments before the aloof Kree warrior was threatening the heroes with a slow painful death after they finally caused her some momentary discomfort.

The variant cover art of "ALL-NEW INVADERS" No. 2 by Salvador Larocca

All-New Invaders #1 - Marvel Comics

ALL-NEW INVADERS No.1, March 2014

As something of a devoted fan of the late Seventies “Marvel Comics Group” title “The Invaders” this was really something of a ‘must-buy’ comic book as it advertised the return of the original roster as created by Roy Thomas and Sal Buscema. Admittedly however the cover by Mukesh Singh is not the most enticing of illustrations as it depicts a painfully grim-faced Captain America, an unnervingly smiley Sub-Mariner and a grotesquely distorted Human Torch.

Fortunately British comic book artist Steve Pugh provides the artwork for the interior of the issue and very nice it is too. There’s a real sharp clean look to his pencils which works especially well with his drawing of the Human Torch and the somewhat oversized Kree Amazonian, Tanalth the Purser. However it is most definitely his ‘flash back’ panels showing the Invaders tackling Baron Wolfgang von Strucker and Hela, Norse Goddess of Death, during the Second World War which really provide a visual treat. Ably assisted by the subtly muted colouring of GURU-eFX.

Besides being well-drawn, Issue One of the “All-New Invaders” is also very well written, with James Robinson telling the story through the eyes (and mind) of Jim Hammond, the original Human Torch. Indeed such is the intimacy that one shares with the world’s first synthetic human, as he walks through the quiet town of Blaketon, eating pie and sipping coffee, that the interruption to his meanderings by a sudden Kree attack is all the more rude and impactive. I certainly found myself being quietly content simply reading about the mechanic going for a spot of lunch and enjoying Pugh’s detailed artwork.

Obviously such an idyllic lifestyle was never going to exist for long but the British writer really produces a shock moment with the appearance of Tanalth and the slaughter of Hammond’s garage-owning boss. It is really very easy to take an immediate dislike to the over-muscled Kree warrior, and Robinson makes it easier still by giving her an atrociously over confident and overbearing personality. In fact I can’t recall disliking a villain so quickly and so intensely, and became surprisingly desperate to see the Human Torch give Tanalth the beating her hubris so clearly deserved.

Equally I’ve not felt that a super-hero needed to get such a dramatic and final come-uppance as Major Liberty does when he feels the withering fatal touch of Hela. So much for the arrogance and excessive pride of a former history teacher who can summon up the ghosts of past American patriots.