He-Man And The Masters Of The Universe #3 - DC Comics

HE-MAN AND THE MASTERS OF THE UNIVERSE No. 3, August 2013

Based upon the Eighties American animated television series by “Filmation”, this rather fraught attempt to depict the adventures of He-Man and the realm of Eternia to a more mature readership proves a disappointing experience. Predominantly because Keith Giffen’s stilted lack-lustre narrative arguably settles upon a confusing middle-ground, which is neither seriously written science fiction nor corny tongue-in-cheek adolescent bumf.

Indeed it’s really hard to decide just what audience this somewhat short-lived “DC Comics” ‘ongoing’ series was targeting, especially when “Siege!” begins with Teela childishly bantering with Prince Adam about an “imaginary” female friend she had as a youngster because “kids my age gave me gas”. This incredibly dialogue-heavy opening even goes so far as to have the spikey Captain of the Royal Guard threaten King Randor’s son when he jests that it’s hard to ‘picture her ever being cautious’.

Such playful, teasing dialogue is actually rather well-written by Giffen and arguably establishes a rather juvenile easy-going tone to the comic book’s proceedings which is not unlike that of the cult cartoon itself. Unfortunately however this ‘ambience of long-lost childhood’ is abruptly replaced within the space of a few pages by the portrayal of an understandably distraught Man-At-Arms who is grief-stricken at the abduction of his daughter by Hordak’s evil Horde.

In fact there’s absolutely nothing to ‘laugh about’ at all once She-Ra's archnemesis initiates an attack upon Castle Greyskull, and the storyline’s seriousness is quite considerably ‘ramped up’ to the point where a grim-faced He-Man is forced to remind the usually dutiful Duncan of his obligations as the “General of the Guard and a Defender of the Realm”... And is then himself ‘chastised’ by his own father because the heavily-muscled warrior swears to get his friend back; “I forbid it… You have every intention of setting off after Teela. You are needed here. Eternia has greater need of you. As your King I command you to stay.”

Equally as disappointing as the magazine’s inconsistent mood, is the somewhat scratchy sketchings of Pop Mhan and Mateo Guerrero. This artistic coupling, comprising of a Bangkok-born penciller and Spanish cartoonist, admittedly provides plenty of dynamic action-packed panels throughout the twenty-page periodical. But the roughly-drawn figures with their rather ugly facial features are far from ‘pleasing to the eye’ and arguably look like a collection of draft scribblings prised from an artist’s practice book than artwork genuinely intended for publication.

Writer: Keith Giffen, and Art: Pop Mhan and Mateo Guerrero

 

Aliens Vs. Zombies #1 - Zenescope Entertainment

ALIENS VS. ZOMBIES No. 1, July 2015

Well known for its “full-color action, fantasy and horror titles” this first instalment of an “all-new” five issue mini-series by “Zenescope Entertainment” is a rather enjoyable fast-paced read, and most definitely provides a new twist to the somewhat stale premise of the World being infected by some randomly conceived “Zombie Virus”. Indeed this novel “blend of science fiction, horror and action” actually portrays the rather colourful extra-terrestrial crew of a large spaceship in the role of the planet’s potential saviours… At least up until the point where Air Force One catastrophically collides into the low orbiting alien vessel and forces it to make a crash-landing smack in the middle of the walking dead.

Admittedly the infection’s actual origin, which consists of a fallen meteor overpowering the New Jersey farming locals who first discover it, is at least partially inspired by author H.G. Wells’ novel “The War Of The Worlds”. But company co-founders Joe Brusha and Ralph Tedesco’s premise that creatures from outer space are routinely patrolling ‘heavily populated planets’ for such ‘signs of contagion’ makes “Aliens Verses Zombies” a refreshingly original narrative, especially when the disciplined well-drilled star-farers appear to represent so many different intergalactic species.

Fortunately the Pennsylvania-based publishers have also taken into account those potential purchasers who may be somewhat sceptical at such a strong science fiction theme pervading the storyline, by also filling this periodical’s twenty-three pages with plenty of gruesomely bloody, brain-feasting Zeds. In fact the magazine’s impressive summarisation of the living corpses taking only a “day to spread to every major population center on the planet” is one of the highlights of this opening edition. As is the depiction of the claustrophobically confined pilots of the President’s plane being swiftly devoured by one of their very own whilst in mid-flight; “Tower is gone. We’re on our own up here.”

Equally as impressive as Brusha’s script is the incredible artwork of Vincenzo Riccardi. The fumettista’s opaque-eyed carnivorous cadavers are both wonderfully animated and ghoulishly ‘alive’ as they relentlessly stalk both the last few remaining survivors on the city streets or ravenously press upon the failing fences of a military base.

The regular cover art of "ALIENS VS. ZOMBIES" No. 1 by Sean Chen and Ivan Nunes

Moon Knight #16 - Marvel Comics

MOON KNIGHT No. 16, August 2015

Whilst undeniably living up to Cullen Bunn’s promise that “each of my five issues will feature self-contained… street-level supernatural” stories, there is most definitely also an awful lot of sophisticated technology on show within “Angels” as well. In fact for the vast majority of the twenty-page periodical the North Carolina-born author’s narrative focuses exclusively upon a ‘running’ sky-battle between a stupendously large glider-born Moon Knight and a group of unnervingly fanatical jet-pack wearing goons.; “All right team. Let’s take the payload to the nest.”

Such a tense high-octane action-packed confrontation provides numerous thrills, and genuinely seems to capture all the atmosphere of modern day fighter aircraft combat, with the Fist of Khonshu continually directing Drone One to either “deploy countermeasures or a “missile swarm”, as well as dispense (micro)drones in order to “retrieve falling targets.” The American novelist, with the notable pencilling skills of artist German Peralta, even arguably manages to include a nice ‘nod’ to “DC Comics” caped crusader Batman, by having Marc Spector momentarily camouflage his crescent-fashioned flying machine within the bright glare of a similarly shaped moon.

Sadly such a wonderfully written sequence eventually comes to an end as the former mercenary’s motor-glider crash-lands atop a Manhattan tower block, and Don Perlin’s co-creation is forced to ultimate face his final surviving antagonist on foot as a result. This skirmish however is something of a disappointingly irrational and mystifying climax, despite being “one hundred percent weird in nature”.

Indeed it is Bunn’s insistence on making the motivation behind the aerial kidnappers so supernaturally bizarre and unnecessarily contrived that causes the comic to end on such a head-scratching low-note. For instead of simply scooping their abductees so as to somewhat understandably hold them to ransom, the Bram Stoker Award-nominee illogically would have the title’s 21,497 readers believe that “the flying men” have snatched up their hapless prey in order to take them to the nest of “the raptor goddess… so that the children could feed the mother for a change.”

This utterly bizarre nonsensical conclusion disheartening undermines all the good work which has preceded it, as it is impossible to associate the fast thinking, technologically advanced flyers with a mentally unbalanced belief that by starving people to death at the feet of a hokey winged idol, a goddess would elevate them to the status of angels? It also raises the question as to where the four acolytes managed to obtain their cutting-edge equipment from in the first place, especially when their totem is little more than an unsophisticated macabrely-dressed decaying human corpse which has been suspended from the ceiling by wires…

Writer: Cullen Bunn, Art: German Peralta, and Color Art: Dan Brown

Daredevil #11 - Marvel Comics

DAREDEVIL No. 11, February 2015

Selling a highly creditable 31,382 copies in December 2014, at least according to “Diamond Comic Distributors”, Issue Eleven of “Daredevil” appears on the face of it to simply be another attempt by storyteller Mark Waid to resurrect one of the titular character’s oldest foes; in this case Gene Colan and Roy Thomas’s Late Sixties creation, the Stunt-Master. However in something of a unique twist the Eisner Award-winner’s narrative actually places the retired elderly motorcyclist in the position of the story’s victim rather than Hornhead’s antagonist and actually goes to quite some lengths in order to encourage the reader to have a little empathy for the one-time partner of Johnny Blaze.

Indeed by the time the battered bitter stuntman apparently commits suicide, approximately two-thirds of the way through the book, the Alabama-born author has impressively created a genuine sympathetic atmosphere for George Smith and a real hostility towards the villain’s replacement, an especially arrogant and “smug jackass” whose smart mouth is as galling as his stunts are impressive; “Dude, good riddance to that old geezer! I hear he’s jumping bedpans in a wheelchair now!”

Unfortunately in building up to a wonderfully climatic confrontation between the bragging youth and the real ‘Man without Fear’ atop the Golden Gate Bridge, Waid is almost forced into padding out the proceeding pages with some especially tiring dialogue-heavy panels. Admittedly many of these conversations are important in order to demonstrate just how desperate Daredevil’s aged adversary is to ‘reclaim’ the name Stunt-Master. But even so, having already spent three pages depicting Matt, Foggie Nelson and Kirsten McDuffie tediously discussing the crimefighter’s “first meeting with Hawkeye”, it comes as something of a chore to then additionally wade through even more discussion driven scenes as the “former star” repeatedly badgers his blind lawyer for an update regarding his libel case.

Fortunately when this magazine’s finale does present itself, it is as well-drawn by resident artist Chris Samnee as it is written, with the American penciller’s double splash comprising of a series of wordless frames depicting the new Stunt-Master dangerously driving towards a stationary superhero, two hundred and thirty metres above San Francisco Bay, proving as tense and nervy a spectacle as any bibliophile could wish for.

Storytellers: Mark Waid & Chris Samnee, and Colorist: Matthew Wilson

Moon Knight #15 - Marvel Comics

MOON KNIGHT No. 15, July 2015

For those comic collectors who enjoy seeing their superheroes pushed to the very brink of defeat, only to then somehow ‘cheat the odds’ and make a miraculously triumphant return, Issue Fifteen of “Moon Knight” is undoubtedly going to be a tense enjoyable read. For having been beaten and even savagely bitten within an inch of his life at the beginning of this book, a heavily bandaged Marc Spector battles Cullen Bunn’s hideously malformed take on ‘the monster under the bed’ and despite a multitude of gory vein opening injuries, finally manages to defeat his truly formidable foe with the aid of two assault rifles…

Indeed as far as sheer brute strength is concerned, the Ghastly Award-nominee’s “Bogeyman” appears as indestructibly arduous an opponent as any unnatural creature the costumed crimefighter has ever fought, including the former mercenary’s classic confrontation with lycanthrope Jacob “Jack” Russell in the early Seventies title “Werewolf By Night”. Certainly the North Carolina-raised writer makes is emphatically clear within the narrative’s opening few pages that the gigantic misshapen horror cannot be overcome by the superhero’s usual methodology of delivering brutal baton strikes and hurling a fistful of shuriken.

Bunn also uses this twenty-page periodical to further explore the somewhat strained relationship between the schizophrenic Spector and his Moon God. In fact the pair’s heated, even angry exchange whilst a battered vigilante momentarily finds the time to recover from his wounds, is wonderfully written and despite being somewhat sedentary in pace makes for enthralling entertainment. Especially as this argument results in Moon Knight impetuously turning his back upon the traditional weapons of the Egyptian deity, and instead equips himself with an impressive selection of automatic firearms.

Just as gratifying has to be the incredibly dynamic artwork of German Peralta, who presumably replaced previous penciller Ron Ackins after the Philadelphian failed to finish his last assignment on time. Delightfully detailed, dramatically-charged and undoubtedly captivating, the Argentina-born illustrator’s portrayal of Doug Moench’s co-creation battling the heavily-muscled, puss-infested behemoth is tremendously well-drawn and whilst rather gory, with plenty of blood pooling within the panels, is well worth revisiting two or three times in order to spot some truly delicate touches, such as the bogeyman’s hideous reflection being caught upon the West Coast Avenger’s throwing stars.

Writer: Cullen Bunn, Art: German Peralta, and Color Art: Dan Brown

Vampirella/Army Of Darkness #1 - Dynamite Entertainment

VAMPIRELLA/ARMY OF DARKNESS No. 1, July 2015

Based upon the 1992 comedy horror film directed by Sam Raimi, “The Army of Darkness” comic books have predominantly concerned the “Evil Dead” series main protagonist, Ash Williams, ‘teaming up’ with a variety of other popular literary characters in an assortment of crossover titles. Dishearteningly such publications historically have proved to be a genuine mixed bag as far as their commercial success has been concerned, with the franchise’s October 2013 one-shot “Army Of Darkness/Reanimator” selling a pitiful 3,751 copies upon its release.

For this particular four-issue mini-series though “Dynamite Entertainment” are clearly hoping for better things, having decided to pair the prosthetic-handed exorcist up with one of the company’s other well-known ‘fright-fest’ licences, Vampirella; a blood-drinking superheroine who was created in 1969 by Forrest J Ackerman and Trina Robbins. Indeed advertised as “the horror mash-up you’ve all been waiting for” on paper at least, this magazine would genuinely seem to have had a lot in its favour, especially as it should be “full of bloody chainsaws, fanged vixens, demon possessions and boomsticks aplenty!”

Sadly however Mark Rahner’s script is an especially disappointing sedentary affair, and worryingly typical of the veteran journalist’s substandard writing whilst on the short-lived poor-peddling periodical “The Twilight Zone: Shadow & Substance”. In fact it is genuinely hard to associate this twenty-page castle-based wearisome ‘whodunnit’ with the gory somewhat tongue-in-cheek shenanigans seen during the action-packed $21.5 million grossing cult motion picture.

Admittedly the Seattle-based podcaster’s Ash is every bit the wise-cracking ignorant incompetent as seen in the movie trilogy. But whereas on the ‘silver screen’ actor Bruce Campbell managed to also imbue Williams with appealing ingenuity and something close to determined bravery, this narrative’s disagreeable incarnation of Empire Magazine’s Number One Greatest Horror Movie Character smacks of all-consuming chauvinistic arrogance and genuinely purveys the impression that the entire adventure is simply a boring interruption to his drunken medieval womanising.

Discouragingly such an unimpressive storyline even seems to have detrimentally affected the illustration work of Philippine-based artist Jethro “Jett” Morales. The “emerging” sketcher’s original pencils/inks would appear to have been done a terrible disservice by Morgan Hickman’s flat-looking two-dimensional colours, to the point where both of the comic’s antagonists would arguably be unrecognisable if not for their iconic costumes.

The variant cover art of "VAMPIRELLA/ARMY OF DARKNESS" No. 1 by Tony Fleecs

Daredevil #10 - Marvel Comics

DAREDEVIL No. 10, January 2015

Despite being created by Stan Lee and Joseph Orlando way back in 1964, it’s highly unlikely that the Purple Man has ever appeared so grotesque and bestial as he does in Issue Ten of “Daredevil”. For having managed to use his remarkable regenerative ‘healing factor’ in order to literally rise from the dead, this twenty-page periodical depicts the former physician turned international spy as little more than a bleeding shuffling manipulative corpse who seems hell-bent in taking a terrible revenge upon the offspring who ‘killed’ him.

Admittedly the criminal mastermind has never been portrayed as an especially tragic, sympathetic or misguided supervillain. The man's track record for using his ‘all-persuasive’ pheromones in order to compel a plethora of women into marrying him speaks for itself. But Doctor Zebediah Killgrave’s loathsome vindictive behaviour has arguably never been quite so gratuitously presented to the reader as Mark Waid has depicted him within “Devil’s Spiral”. Indeed the Alabama-born author even shows the fiend murderously stalking the infants whilst they ‘innocently’ play within Rough-N-Tumbles arcade, and goes so far as to have the deranged and bloody-faced father seemingly throttle one of the youngsters with the power cable from an amusement ride.

Equally as dramatic and dark is the Eisner Award-winner’s portrayal of the titular character. Psychologically broken by his adversary’s manipulative Purple Children, Daredevil initially proves easy pickings for the zombie-like Killgrave and takes a considerable physical beating despite the badly-broken Croatian’s attack comprising of little more than the limp impetus of “a rag doll”. However it is the mental trauma which the ‘Man without Fear’ suffers during this comic’s narrative which ultimately brings the costumed crimefighter to his knees and sees the book somewhat gloomily end with the semi-clothed blind lawyer apparently alone, curled up on his bed.

Such an intense emotionally-charged script initially appears to prove something of a challenge for the title’s long-time artist Chris Samnee. In fact for the magazine’s first few pages the illustration work of Waid’s fellow storyteller is particularly underwhelming. Fortunately though the American artist’s pencilling does significantly ‘pick up’ once a fraught battered Purple Man starts to bludgeon his nemesis with a piece of wood. So much so that by the end of the magazine, as the gory plum-coloured maniac begins to incapacitate his errant progenies, the claustrophobic tension of the plot is thrillingly rendered.

Storytellers: Mark Waid & Chris Samnee, and Colorist: Matthew Wilson