Star Trek: The Mirror War #1 - IDW Publishing

STAR TREK: THE MIRROR WAR No. 1, October 2021

Promising a “brand-new series from writers David & Scott Tipton, where familiar faces and exciting new surprises await around every corner”, Issue One of “Star Trek: The Mirror Universe” certainly packs an incredible amount of Next Generation-flavoured action and adventure inside its twenty pages. In fact, this comic’s sense-shattering opening, which intermingles Captain Picard’s successful attempt to steal a small fortune from an intergalactic criminal with Inquisitor Troi’s somewhat seductive interrogation of Lieutenant Barclay following his return from “the newly discovered alternate universe”, is arguably faultless in its execution.

Such a pulse-pounding pace doesn’t debatably stop either, especially once Jean-Luc’s plan to steal a shipment of dilithium from a Vor’cha-class attack cruiser gets under way, and the entire I.S.S. Enterprise-D’s senior staff beam themselves directly onto the Klingon vessel’s bridge. The sheer ferocity of this shock attack is genuinely breath-taking, with the nail-biting tension of the audacious mission literally leaping off the printed page as Picard earnestly galvanises his subordinates into a frenzy of phaser-fire and frantic piratical action; “Quickly, quickly, everyone -- It won’t be long before the rest of the crew realizes what we’re doing. Data, there are over two thousand Klingons and Cardassians on this ship. You can’t kill them all yourself.”

Even this book’s less exhilarating interludes still contain plenty to keep fans of Gene Roddenberry’s science-fiction franchise utterly enthralled, with the Tipton brothers providing the likes of Ensign Crusher and Leah Brahms with plenty of spotlight. However, it is probably the Mirror Universe’s version of Chief O’Brien who arguably steals the show, with the decidedly nervous engineer having the entire weight of the captain’s grand scheme momentarily rested upon his broad shoulders when he is ordered to re-programme the Galaxy-class starship’s transporter routines “to make sure that we can beam through the shields of that cruiser”.

Gavin Smith’s contribution to this publication can also not be overstated, with the artist’s ability to imbue all this comic’s characters with the disconcertingly sinister sneer of their violent lives making them appear both amiably familiar and dangerously foreign at the same time. Indeed, despite some of the Indianapolis-born illustrator’s noticeable visual differences with their small screen counterparts, it is hard not to associate this book’s sizeable cast with those of the television show until one of them does something distinctly unfriendly, such as Barclay threatening to have O’Brien ‘permanently’ replaced.

Writers: Scott Tipton & David Tipton, Artist: Gavin Smith, and Colorist: Charlie Kirchoff

Harley Quinn #4 - DC Comics

HARLEY QUINN No. 4, August 2021

For those amongst this comic’s 47,000 readers who were anticipating some sort of team-up or dust-off between its titular character and the formidably-sized Solomon Grundy, Stephanie Phillips’ script for Issue Four of “Harley Quinn” was probably something of a major disappointment. Indeed, considering this book’s pre-publication publicity by “DC Comics”, complete with a massively foreboding cover illustration of the zombie super-villain menacing Quinzel down inside a dank sewer, the fact that the pair of colourful criminals only engage in a short-lived game of chess with one another is probably the last thing anyone was actually expecting.

Sadly however, so brief an appearance by the giant revenant is arguably just one of this particular twenty-two page periodical’s problems, with the American author seemingly struggling with the book’s pacing and relying upon Riley Rossmo to significantly pad out the publication with his prodigious pencilling. The aforementioned boardgame between the Gotham City Siren and Alfred Bester’s co-creation is an example of this, although perhaps a much more noticeable one involves a continuous thirty-eight panel sequence of Kevin simply being injected with a hallucinogenic drug by Hugo Strange.

Fortunately, Phillips’ narrative does debatably pick up once Harleen finally decides to rescue her sidekick, and momentarily adopts the tactics of the Dark Knight himself so as to infiltrate the S.A.F.E. Headquarters with the minimum of fuss. This rather tongue-in-cheek scene is very well penned, and contains all the laugh-out-loud humour a bibliophile might expect from a set-piece involving the trained psychiatrist turned costumed vigilante: “I’m not sure if that makes Batman the naked lady or the ass in this particular scenario… maybe both?”

Likewise, the writing also appears much stronger just as soon as Harley’s infamous bad luck strikes her stealthy rescue attempt, and she once again resorts to simply battering her numerous foes black and blue with a baseball bat. Dynamically drawn by this comic’s regular Canadian artist, Quinn’s battle inside the confined space of a lift with three of Strange’s sadistic orderlies is probably this book’s highlight, and sets the storyline up for a cracking cliff-hanger when the anti-hero reaches the blacked out tenth floor…

Written by: Stephanie Phillips, Art & Cover by: Riley Rossmo, and Colored by: Ivan Plascencia

Judas Breed #2 - PenInkColor Studios

JUDAS BREED No. 2, August 2016

Predominantly concerned with Connie Beaumont and her crewmates desperately struggling to save one of their own from an alien arthropod attack, Kenneth Brown’s script for Issue Two of “Judas Breed” does an amazing job of combining a person’s natural scepticism at such extra-terrestrial life actually existing with the far less forgiving perspective of them then using such a lethal creature as a weapon for the military. In fact, one of this twenty-eight page periodical’s many strengths is its storyline’s ability to move away from the nail-biting terror of Linda’s murderous metamorphosis as she literally starts tearing her friends apart to the more subtle Machiavellian machinations of Alex Hunter on board Olympus Base One.

Enjoyably however, there’s also much more to this comic than a simple case of an aggressive alien monster being sought after by the Armed Forces Intelligence Department, due to its author imbuing it considerably-sized cast with as much character as its panels allow. Arguably taking the lion’s share of this spotlight is the kind-hearted Tony and more matter-of-fact Kevin, whose somewhat contrasting reactions to all the death and destruction around them rather engagingly throws the unlikely duo together, and resultantly makes their shocking combined fate towards the very end of this publication all the more disconcerting.

Equally as effective is the penmanship behind Doctor Michelle Lee Walker and the aforementioned Hunter, which eventually establishes the pair as this narrative’s lead antagonists. Alex quite quickly settles into the role of a cold-hearted governmental killer who is prepared to go to any lengths in order to keep the extra-terrestrial’s existence a secret, even poisoning a tray of delicious donuts. Yet it isn’t until this comic’s distinctly disturbing conclusion that Kenneth cleverly reveals his storyline’s amiable, silver-haired scientist to be perfectly happy to disavow her medical morals so as to make “a lot of money in the process.” 

Likewise, the contribution of Ryan Best’s artwork to the success of this book cannot be overstated either, with the illustrator pencilling some genuinely chilling moments during Linda’s transformation into a walking machine of destruction. The savagely sudden deaths of Greg and Bradley show just how insanely vicious the alien arthropod can be, and this brutality contrasts nicely with the complete lack of emotion on Hunter’s face when he later nonchalantly orders Angela to ensure Tony and Kevin are permanently ‘cleaned up’.

Written by: Kenneth A. Brown, Illustrated by: Ryan Best, and Lettered by: HDE

Artemis & The Assassin #2 - AfterShock Comics

ARTEMIS & THE ASSASSIN No. 2, June 2020

Beginning with a genuinely heart-wrenching flashback as to just how as a young girl Virginia Hall came to lose her leg in a childhood accident, Stephanie Phillips’ script for Issue Two of “Artemis And The Assassin” certainly establishes what a gutsy fighter the “infamous spy” from World War Two actually is. But such raw determination to defy the odds doesn’t debatably explain just how the soldier still manages to ‘get the drop’ on Maya when the time-travelling assassin is about to murder her in Nazi-occupied France.

Indeed, if the American author has previously established anything following this mini-series’ opening instalment it is how utterly ruthless and cold-hearted the killer from the future actually is, so simply standing idly by whilst waiting for Virginia to “put my [false] leg on first” before she executes her with an energy arrow through the forehead is arguably somewhat out of character for the no-nonsense exterminator; “It’s my job to kill you… And I always do my job.”

Happily however, such an implausible delay in Maya fulfilling her mysterious mission does allow Meghan Hetrick to pencil a seriously pulse-pounding, action-filled adventure for the rest of this twenty-one page periodical, as the pair repeatedly wrestle with one another whilst simultaneously trying to survive a German assault upon the French resistance movement. This flurry of activity not only provides Hall with an opportunity to demonstrate her humanity by actually saving her assailant from the Fuhrer’s goose-stepping goons, but also allows Maya to once again demonstrate just how deadly she is with her hand-weapon when she instinctively dispatches a pair of the disabled spy’s friends who foolishly pull pistols out in order to stop her.

Intriguingly though, it is this publication’s secondary tale “Zen And The Art Of Assassination” which truly shows just how disturbingly dark Phillip’s blood-splattered world of hired killers actually is, with a smirking Isak demanding that his bow-carrying protégé kill a child in the little girl’s nursery if Maya wishes “to prove that you are ready for your own missions.” Proficiently pencilled by Francesca Fantini, this backstory goes a long way to explain just why the now fully-grown assassin is both so pitiless towards her targets, and hates her employer with such barely-restrained gusto.

Writer & Creator: Stephanie Phillips, and Artists: Meghan Hetrick & Francesca Fantini

Harley Quinn #3 - DC Comics

HARLEY QUINN No. 3, July 2021

Delving deeply into the disconcertingly dark dealings of Hugo Strange’s S.A.F.E. programme for Gotham City’s hapless citizens, there was surely plenty for fans of Stephanie Phillips’ penmanship to enjoy inside “No Good Deed”. Yet whilst the American author does a great job in depicting Bill Finger’s utterly insane co-creation, it is her treatment of Harleen Frances Quinzel’s seldom-seen psychiatric skills which cleverly help to really show the sheer murderous insanity of one of Batman’s most deadly super-villains; “But, after performin’ experiments on severed prisoner heads with electricity…”

Indeed, the contrast between the two head-doctors during their “war of wellness” almost literally leaps off the page, as the supposedly legitimate professor unsympathetically increases the chemical dosage of some poor experimental test subject securely strapped to a state-of-the-art medical facility bed. Whilst the penniless, oft-times criminal titular character holds her first poorly-attended “support group meeting” with the promise of coffee and donuts, but genuinely seems intent on trying to help the likes of Eric who is depressed at the thought that “maybe the Clowns don’t deserve normal.”

Similarly as well-written is this publication’s extensive fight sequence, which involves Strange’s “right-hand man-child Lockwood” successfully infiltrating Quinn’s low-key session so as to detain all its attendees, including Harley and her loyal helper Kevin. This chaotic punch-up is as crazy as it comes, courtesy of “Arkham Asylum’s most sadistic guard” bringing numerous reinforcements to the party in an effort to detain the Joker’s ex-girlfriend, and is packed full of mean-spirited orderlies zapping innocents with numerous shock-rods.

Pencilled with plenty of dynamic pace and action by Riley Rossmo, the Gotham City Siren’s brutal battle against “my favourite [person] to imagine beating savagely with various pieces of landscaping equipment” really is the book’s highlight, especially once the fighting escalates outside and the “expert gymnast” is able to literally get her hands on her bald-headed assailant. However, what is also enjoyable is that Phillips fails to fall into the trap of having our colourfully-costumed heroine readily overcome such significant odds, and resultantly ends this particular twenty-two page periodical with Quinn having to save just herself by retreating into the metropolis’ dingy sewer system.

The regular cover art of "HARLEY QUINN" #3 by Riley Rossmo

Warhammer 40,000: Sisters Of Battle #3 - Marvel Comics

WARHAMMER 40,000: SISTERS OF BATTLE No. 3, December 2021

Whilst there’s certainly ample going on inside Torunn Grønbekk’s well-penned narrative for Issue Three of “Warhammer 40,000: Sisters Of Battle”, it will probably be hard for some of this mini-series’ loyal followers not to feel a slight sense of déjà vu as this comic’s lead protagonists simply continue to travel ever “deeper into the tunnels of Siscia.” Indeed, a fair portion of this twenty-page periodical’s plot could somewhat harshly be viewed as consisting of little more than Canoness Veridyan’s squad once again gunning down a number of emaciated chaos sympathisers against the all-too familiar backdrop of some grungy-looking, subterranean city tunnels; “Are you sure this is the correct path, Novitiate?”

Mercifully though, for those readers able to persevere with this arguable repetitiveness, the Norwegian author still manages to include plenty of intriguing moments with which to keep any fan of “the all-female military force” suitably hooked, such as a tantalising flashback sequence concerning Canoness Selene’s confession on the planet Balta some twenty-three years in the past. These insights into the Emperor’s faithful genuinely help bring some extra depth of character to this comic’s central cast, and help demonstrate just why the tightly-knit crew have been able to outfight so extensively-entrenched an enemy as Milady Crea’s daemonic rebellion.

Furthermore, Grønbekk cloaks the harsh-talking Inquisitor Ander with a thoroughly dislikeable, yet wholly enthralling, shroud of secrecy. Clearly keeping his cards incredibly close to his chest, the member of the Ordo Hereticus absolutely reeks of distrust during his curt conversations with Canoness Preceptor on board the Retribution-class battleship, Fiery Heart, and in doing so makes it disconcertingly clear that Veridyan’s supposedly straightforward mission to merely “retrieve a lost Inquisitorial acolyte” from a heretical uprising is far from the actual truth of the matter.

Ably aiding Torunn with this book’s storytelling is Edgar Salazar, whose well-pencilled layouts certainly contain plenty of “no-holds-barred action” whenever the script requires it. However, it is debatably the Mexican illustrator’s touchingly tender moment portraying Cassia’s life-saving blessing from the Emperor himself, which is potentially the artist’s finest contribution to this particular publication. Surrounded by her aghast comrades-in-arms, the unconscious warrior’s seemingly fatal throat wound is astonishingly shown to miraculously close in unison with the gathering’s vocal prayers for the Master of Mankind to show mercy.

The regular cover art of "WARHAMMER 40,000: SISTERS OF BATTLE" #3 by Dave Wilkins

Lady Freedom #3 - Second Sight Publishing

LADY FREEDOM No. 3, September 2021

Starting with a marvellously dramatic opening from “the past” which features the all-powerful Echelon finally coming face-to-face with the enigmatic Tomorrow Man on the defeated planet of Na’mus, Issue Three of “Lady Freedom” certainly appears to be about to embark upon a truly titanic tale of near omnipotent super-beings brutally battering one another into next week. However, despite such a pulse-pounding bout of earth-shaking pugilism undeniably taking place between the two cosmic heavyweights, a lot of what occurs within the rest of this twenty-seven page periodical is arguably far less accessible; “Fool, that feeble effort will not stop what has been set in motion.”

To begin with Lady Freedom and Miss Enigma are suddenly found to be “engaged in a secret mission” together on a far distant world, where its murky swamplands are infested with some sort of robotic Komodo dragons. Just how the crime-fighting couple happen to have reached such a location is disconcertingly never explained by Arthur Bellfield, nor how the pair knew this was where they’d find both Tomorrow Girl and the mysterious Matrix of All. Instead, one of the titular character’s “most trusted allies” simply appears out of nowhere, hands over a baby to the Native American and then is shockingly murdered by Enigma with a bullet straight through the head.

Similarly as disconcerting though, is this comic’s secondary plot-thread which sees Camille Arboghast become the target of a surprise attack by two of Echelon’s extra-terrestrial minions. Gor and Vara definitely make an impressive impact upon the reader with their remarkable ability to defeat Scarlett in just five seconds, but apart from a single line suggesting that they come from a future where “you’re going to be one of the greats”, there doesn’t seem to be much rationale as to why the deadly duo have been dispatched to tackle Lady Freedom’s friends.

Luckily, Larry Spike Jarrell’s pencilling is debatably worth this publication’s cover price alone, with Echelon’s aforementioned battle against Tomorrow Man providing the artist with the opportunity to sketch some seriously sense-shattering panels. Whether it be some jaw-breaking blows to the chin, or some horrendously savage batterings with a metallic hammer, the illustrator manages to imbue all this comic’s fight sequences with some eye-watering brutality.

The regular cover of "LADY FREEDOM" #3 by Larry Spike Jarrell