Moon Knight #10 - Marvel Comics

MOON KNIGHT No. 10, February 2015

There’s a good deal of suspense present within the pages of Issue Ten of “Moon Knight” as the latest agent of Khonsu, the Machiavellian Doctor Elisa Warsame, bewitches a United Nations security officer into making an assassination attempt upon the rather contentious General Aliman Lor; a former murderous militant from the fictitious African state of Akima. Indeed it is rare for a narrative to become so completely compelling that without even realising it the reader’s pulse starts to quicken and they devour the contents of each page with increasing rapidity.

Brian Wood’s narrative for “HQ” however produces just such an effect despite the comic’s opening simply depicting the rather monotonous routine of Gloria Roza as she prepares for a seemingly typical night shift at “Turtle Bay.” Fortunately events do not remain as anaesthetically mundane for long as the guard’s regimental habit is suddenly rocked by the eerily haunting words “thirty-six hours from now. You die” and she shockingly comes face to face with the Egyptian Moon God’s emissary.

What then follows is a rather sinister series of pages within which the Vermont-born writer depicts the villainous psychologist at her mentally manipulative best, patiently probing and provocatively pushing her prey into a course of action that will result in the U.N. employee committing the most cowardly of murders. Such a fundamental betrayal of Roza’s sworn oath of office is extremely well written by the former “Rockstar Games” staff designer and proves to be a fantastically gripping read. Especially when it is clear such cold-blooded butchery goes against everything which the ‘peace officer’ thought she believed in.

Lesser authors may well have been tempted to ‘convert’ their would-be killer within the space of a few panels in order to keep the story flowing. But Wood instead concentrates upon the physician’s twisting of Gloria’s personal history and the shooting of her “highly decorated, very respected” father when she was but twelve years old. As a result, by the time General Lor covertly arrives at the United Nations, it really isn’t clear how the guard is going to react. So when the opportunity approaches for his swift elimination all the signs disturbingly seem to indicate the evil doctor has won the day.

Fortunately the heroically dramatic emergence of a battered and bloodied Marc Spector at the last second manages to momentarily break Warsame’s hold over her pawn, and at the same time interrupt the bookworm’s breathless trance and allow them to take a much needed ‘gulp of air’.

However what it particularly impressive about this scintillatingly atmospheric drama is just how much of its fascinating hold over the reader is additionally down to the pencilling of Greg Smallwood. No less than seven of the comic book’s pages actually contain no dialogue whatsoever, and thus entirely rely upon the American artist’s wonderful illustrations to captivate the imagination. Such a ‘wordless’ technique proves to be doubly effective towards the climax of the story, as all attention becomes focussed upon Roza’s body language and facial expression; most notably when she recognises her intended victim and with an audible “snap” unholsters her firearm.

Writer: Brian Wood, Artist: Greg Smallwood, and Color Art: Jordie Bellaire

The Walking Dead #123 - Image Comics

THE WALKING DEAD No. 123, March 2014

Despite arguably being the instalment where creator Robert Kirkman finally starts to make good on his promise that “there are going to be a lot of deaths” during the multi-issue event “All Out War”, this particular edition of “The Walking Dead” still seems to take quite a while to warm-up. Such an impression appears to be predominantly due to the American author seemingly being far more interested in scripting short one or two-page character-driven dialogue-heavy scenes than actually progressing the inevitable final confrontation between Rick Grimes’ survivors and the brutal gun-toting Saviors.

As a result for the opening third of this comic book it isn’t actually all that clear as to whether Negan’s climatic assault upon the Hilltop colony is going to occur within its pages or not. For rather than start with the foul-mouthed psychopath bringing down the Virginia fort’s corrugated iron gates with a rampaging truck, the reader has instead to wait and wade through a series of depressingly dreary soul-searching scenes involving Carson, Eugene, Carl, Sophia, Maggie and Andrea first.

Fortunately when the action does arrive it is fast and furious, containing bullets and screeching motor vehicles enough to rival a “Mad Max” motion picture. Indeed the sheer amount of flying hot lead whizzing from panel to panel during this firefight is rather spectacular, especially when it turns one of the Savior’s truck cabs into so much Swiss cheese.

Sound effects also dominate during this issue, as the periodical’s pages are covered with “Brakka! Brakka! Brakka!”, “Pkow!”, “Vroom!!”, “Blam!” and “Skkrrgh!” Not to mention the occasional sickly “Slissh!” as Michonne’s sword slices through a bad guy or “Shukk!” as Dwight’s crossbow sends a zombie-contaminated bolt into one of Grimes’ unfortunate people.

The Sanctuary’s despot, unaware of the mini-revolt taking place back at his home base, is clearly in his element during all this chaos, swearing and cursing as he leads his men forward intent on ‘mowing his opposition all down’. Once again though the Kentucky-born writer is quick to highlight that his homicidal creation isn’t just a one-dimensional murdering maniac, and bestows Negan with some genuinely ‘human’ moments as the tyrant repeatedly tries to convince the former Police deputy to surrender. The dictator's pained facial expressions and profanities when despite all his efforts Rick refuses to ‘hang his bare backside over the side of the Hilltop’s wall and let Negan climb up and slap it red” shows genuine emotion and makes it clear that he’d rather not assault the settlement.

Charlie Adlard’s pencilling is equally as dynamic, once the battle begins. His page composition, using a series of small square panels to illustrate quick-paced action, and then larger, almost splash-pages for the bigger events, such as Rick Grimes leading his ‘army’ out against the Saviors guns blazing, really imbues the struggle with fraught energy and a sense of urgency bordering upon panic. Things move very quickly during the conflict and at no point does the British artist let it slow down.

Writer: Robert Kirkman, Penciller: Charlie Adlard, and Inker: Stefano Gaudiano

Powers #2 - Icon Comics (Marvel Comics)

POWERS No. 2, March 2015

It really is exceptionally hard not to see “Powers” as little more than an enormous sales gimmick for this title’s adaption into an American online streaming television series. Certainly there appears little other reason for writer Brian Michael Bendis and “Marvel Worldwide” to distribute such distasteful poorly-written and dreadfully-drawn nonsense. Even if the New York City-based publishers are printing it under their creator-owned imprint “Icon Comics”; something which tends to lend itself to much more edgy mature adult-orientated content. 

Blatant advertising, such as this issue’s cover boldly declaring the programme’s broadcast date on Sony’s Playstation Network, is perfectly understandable given the series’ accomplishment and readers may even excuse the five-time Eisner Award-winner for furnishing them with excruciating detail about the development deal during the lengthy introduction to his letters page “The Line Up”.

But far less likely to be forgiven is the quality of the Cleveland-born author’s storyline for this book. It really does leave a lot to be desired and genuinely feels like the former “architect of the Ultimate Marvel Universe” has rushed this magazine’s script through in order to meet the television show’s debut. Why else would he spend five dreary dialogue-heavy pages simply explaining that the murder victim was a nice well-liked individual, and another six depicting Christian Walker being gratuitously mugged in his own apartment?

Sadly such a disheartening observation arguably gains even more weight when one considers the writer’s stilted monotone dialogue and his heavy overreliance on profanities. Bendis is infamous for his (mis)use of swear words in his magazines. But with this comic it would seem that whenever he was stuck giving one of his character’s something informative or meaningful to say, he mindlessly just gives them an expletive and lazily moves on to the next scene.

Tragically Michael Avon Oeming’s pencils would also seem to support this theory of ‘everything being done on the hurry up’, despite the fact that the periodical is being published as a bi-monthly. His tense front page illustration of Walker and Pilgrim is by far the best piece of artwork in this comic book, as the vast majority of his interior figures disappointingly resemble little more than stick-men with balloon heads and Chibi-like eyes. 

Admittedly there is a lot of raw power and energy on show when the American artist depicts the former homicide detective battling a crowbar-wielding intruder, and as such the frantic panic-filled fist-fight works well as a piece of semi-gripping drama. But the Eagle Award-winner’s awkward, even ugly-looking caricatures make it extremely hard for anyone to fully immerse themselves in the action; especially when the ‘cartoonesque’ figures are swearing all the time.

The variant cover art of "POWERS" No. 2 by Mike Allred and Laura Allred

Uber #3 - Avatar Press

UBER No. 3, June 2013

There is most decidedly a different feel to the writing of Issue Three of “Uber”. The shocking profanity-filled dialogue of past editions has almost entirely been erased. Whilst the graphically gory illustrations of mutilation and decapitation have also been reduced to a minimum... for the most part at least. This is an “Avatar book” after all.

But the reason behind such a sudden and dramatic change in this title’s tone is not obvious until Kieron Gillen’s Afterword within which the British author expresses his delight that his book has apparently sold “really well” and that he was nervous about its reception owing to the fact that he wrote the first issue five years earlier in 2008. Having been “crazily twitchy over” his creation’s beginning, the former computer game journalist assures those readers “who were getting lost earlier” that “from now on, it’s all… modern” scripts and sets about using this edition to begin “untangling” the somewhat epic storyline’s “structure a little”.

In order to do this Gillen simply tells the parallel tale of the comic’s two main protagonists, German General Sankt and British secret agent Stephanie as they report to their respective state heads, Herr Hitler and Winston Churchill. Both briefings, played out simultaneously to one another, ‘fill-in’ an awful lot of backstory to this title. Some of which was even missing from the series’ “sell-out” launch edition.

Yet both also conclude with very different endings for their lead characters. Britain’s “old girl” is dispatched to Bletchley Park to begin work on creating “something better than the tank-huns.” Whilst the Fuhrer’s “Hero” is murdered by his maniacal leader by having his head melted for failing to inform the despot earlier about his super-human successes. “There’s something for you to think about as your brain slides down your face, eh?” as Adolf says.

Despite the sedentary nature of the plot, Caanan White produces some simply stunningly dynamic artwork for this book. The vast majority of which is centered upon the spookily compelling facial expressions of Germany’s Fuhrer. As Gillen states on his ‘workblog’ “there’s probably an essay there” as the former “Ptolus: City By The Spire” artist depicts “a man at the edge of breakdown”, a country’s leader who is clearly “mentally and physically broken.” A murderous fiend who genuinely believes ‘he is Germany’ and merrily sits upon a sofa supping broth whilst a misshapen twitching corpse, still steaming from the burning hot electrical discharge of a “wunderwaffen”, lies at his feet.

The regular cover art of "UBER" No. 3 by Caanan White

Secret Wars #0 - Marvel Comics

SECRET WARS No. 0, June 2015

To say this “Free Comic Book Day” prologue is the start of something big for “Marvel Worldwide” is a significantly large understatement. After approximately seven months of hype by the New York City based publisher, this is the title where “time runs out” and “everything ends” for the Marvel Universe… and its various alternatives such as “Ultimate Marvel” and “Marvel 2099”. Such a cataclysmic storyline, advertised as “the most important comic series of 2015”, should arguably whet the appetite of even the most disenchanted collector. But if that doesn’t then almost certainly the wildly wonderful Alex Ross wrap-a-round cover, featuring a legion of super-hero luminaries, will do.

Unfortunately Jonathan Hickman’s script for this apocalyptic appetiser is actually far from “the perfect primer for the mega-event of the year” as it solely focuses upon the tedious efforts of Valeria Richards and her super-intelligent friends to build a ‘life raft’ prior to the incursion event. This sedentary conversational-based piece hardly echoes the titanic cosmic struggle promised on this issue’s front page and as a result proves a bitter disappointment.

Indeed a simple ten-page montage relaying the events of the “Time Runs Out” storyline from the “Avengers” and “New Avengers” books would probably have proved a far more informative, entertaining and exciting read. Instead “the all-star creative team” merely hint at the exploits of the “Earth’s Mightiest Heroes” and their bond-breaking battles when “everything turned upside down and inside out…” Sticking in its place to some simple, though well-illustrated, panels of Reed Richards’ children regrettably discussing that they’re only going to be able to save “a few dozen people”.

Infinitely more engaging is this special edition’s second story “Attack On Avengers”, a charming ‘What If?’ eight-pager which sees the Avengers from the Marvel Universe clash with the Titans from Haijime Isayama’s “popular manga” “Attack On Titan”. Originally commissioned for the Japanese magazine “Brutus”, and “presented in English for the first time”, this action-packed fist-fight leaves the reader absolutely no time to breathe as it starts after the “colossal titans” have already emerged from the waters of New York Harbour and begun to eat people.

Admittedly there’s little in the way of depth to this plot, but for once, that’s immaterial as Spider-Man, Captain America, Iron and the incredible Hulk, to name but a few, bravely best several of the gigantic humanoid creatures. Indeed the only problem with this scintillating fun-fest is its brevity and that it ends just as the Guardians of the Galaxy arrive with the song track “hooked on a feelin’” playing in the background.

Writer: Jonathan Hickman, Artist: Paul Renaud, and Letterer: Chris Eliopoulos

Joe Frankenstein #2 - IDW Publishing

JOE FRANKENSTEIN No. 2, March 2015

Despite apparently having agreed for “IDW Publishing” to initially produce this comic as a four-issue mini-series way back in April 2013. At least according to the official “Joe Frankenstein” project blog. There is a decidedly rushed feeling to this title’s second instalment, which is most likely due to it containing some rather erratic and disappointingly dire artwork by Graham Nolan.

Indeed some of the illustrations, especially those pages depicting Frankenstein’s monster reuniting his young namesake with the teenager’s foster family, are so bad that it makes one wonder whether the task of being co-writer and artist, as well as Indiegogo fundraiser, possibly overwhelmed the former “Batman” penciller? Certainly the American’s character concept sketchings from 2009 and 2012 are of an infinitely higher standard than the discouraging drawings found within this book’s twenty-seven pages…

Sadly the disheartening quality of Nolan’s pictures are not the only problem with the Inkpot Award-winners’ creation, as the rather inconsistent storyline, co-written by Chuck Nixon, generates far more bewildering questions than answers. Victor’s creature has already made it clear that his primary purpose in ‘life’ is to protect his descendants from the undead and Joe is “too important to lose to them.” So why then does the monster allow the pizza-delivery boy to travel with him and leave the relative safety of his secret silo base, when it becomes clear that the vampires will attack the youth’s guardians? All this does is provide the authors the opportunity to place Frankenstein’s ‘ward’ in deadly danger and depict, an admittedly tense, action sequence where Joe has to single-handedly fight for his life.

In addition, considering the way Mary Shelley’s ‘Modern Prometheus’ easily dispatches not only several of the blood-drinkers but the sinisterly enigmatic Mister Saxton with his bare hands, why is he the one doing all the running? Surely the minions of his mate, the Bride, should be the ones fearful of him; especially when Frankenstein is armed with his pistol-shaped Ultraviolet flashlight?

Fortunately this issue does still contain the odd glimmer of interest, especially as the plot progresses and Joe’s flight from his vampiric assassins increases in grandeur. Igor is revealed to be “the ultimate super computer” Intelligence Gathering for Offensive Response, as opposed to the monster’s diminutive manservant. Whilst it also becomes clear that the ever-threatening Bride is not actually at the top of the food chain herself, as the mysteriously mummified Lord Golgatha, himself introduced at the very end of the book, makes mention of “The Master”…

The variant cover art of "JOE FRANKENSTEIN" No. 2 by Graham Nolan

Batman #16 [The New 52] - DC Comics

BATMAN No. 16, March 2013

There is something deeply and fundamentally disturbing about Scott Snyder’s incarnation of the Joker in “Castle Of Cards”. The super-villain is not just teasingly tasteless in his traps and tribulations. But actually gruesomely sick and worryingly perverted to the point where perhaps the New Yorker is close to crossing a certain creative line when it comes to acceptable content within a book merely rated ‘T for Teen’. Indeed the Brown University graduate’s interpretation of the green-haired fiend is so utterly sadistic, and so profoundly troubled it is arguably doubtful, cosmetic similarities aside, that co-creator Jerry Robinson would actually recognise his Clown Prince of Crime.

It’s not that the Dark Knight’s archenemy desires to have pairs of Arkham Asylum guards electrocuted which is the issue, nor that he sets a living horse alight and then sends the wide-eyed distraught animal charging straight towards an astonished Caped Crusader; though that particular scene is rather troublingly vile in its own right. It’s the “royal tapestry” which the Joker gleefully points out depicts ‘yesterday’s adventures’ upon a macabre canvas of Human skin. Such a gestalt of ‘living corpses’ sewn together with “tubes in their stomachs” is utterly abhorrent, especially when the dangling flesh-woven decoration starts to chant “Hailthebatkinghailthebatking…” There isn’t any of the prankster’s trademark humour to be found within such a scene, and his quip that “the live flesh makes the colors pop” simply demonstrates how utterly unfunny and as a result unlikable Snyder’s psychopath is.

Unfortunately such tastelessness isn’t the storyline’s only weakness as the American author bestows upon Batman a fighting prowess which is truly incredulous, and seemingly just so he can have the cowled vigilante out best some rather unbelievable set-pieces. It is entirely plausible that the crimefighter might be able to beat Mister Freeze within the space of a page if he managed to swiftly disable the scientist’s cryogenic suit through the convenient placement of a heat generating device. But the enormous shape-shifting Clayface in just four panels, and then straight afterwards the Scarecrow within the space of three more? Never. And then there is the Dark Knight’s ludicrous battle with approximately sixty well-armoured flame-sword wielding “royal knights” plus mounts, which he unthinkingly dispatches with just a bat-line and an occasional well-aimed kick or punch.

Infinitely less graphically gruesome is “Judgement” a six-page collaboration between Snyder and James Tynion IV, which briefly looks at the fragile truce between the Joker, the Penguin, the Riddler and Two-Face. Mark “Jock” Simpson’s undisciplined illustrations lack much of the detail famously found within the pencilled pages of the comic’s main story artist Greg Capullo. But the Scot’s clown-faced criminal is very well drawn, packed full of the dynamically-charged manic energy the giggling ghoul is notoriously known for.

The variant cover art of "BATMAN" No. 16 by Alex Garner