U.S.Avengers #1 - Marvel Comics

U.S.AVENGERS No. 1, March 2017

Described by author Al Ewing as a super-group who work “with S.H.I.E.L.D. while not being a part of it” and featuring a heavily-moustached Red Hulk, an alternative universe Captain America (who scarily resembles Bernie America) and the ever-effervescent Squirrel Girl, it’s easy to imagine that most of this comic’s 110,729 bibliophiles probably thought that they buying into some sort of tongue-in-cheek series similar to “Marvel Comics” Silver Age self-depreciating title “Not Brand Echh”. It’s certainly hard to understand just how this comic became the biggest selling book of January 2017, even if Rod Reis was commissioned to draw over fifty unique variant covers pairing an Avenger with either an American state, Canada, the District of Columbia, Puerto Rico, or United Kingdom, in order to celebrate the launch of the new series…

Incredibly however, Issue One of “U.S. Avengers” actually contains plenty of action-packed suspense, and despite its narrative being repeatedly interrupted by “camera pieces” designed by Roberto Da Costa to “hopefully convince the S.H.I.E.L.D. sceptics that A.I.M. is just people… who want to help”, it also proves a thoroughly enthralling read. Indeed, considering that the British writer’s script introduces all seven lead cast members, highlights the new mantra of Advanced Idea Mechanics, resolves the very genuine threat of the Secret Empire’s volcano base helicarrier and showcases the villainous Golden Skull, it’s incredible that this twenty-page periodical isn’t just a hot garbled mess.

Of particular note has to be the gobsmackingly good entrance of Doreen Green and her Flying Squirrels air squadron, as well as General Robert L. Maverick’s stunning establishment as the (new) Red Hulk. Admittedly, a dozen rocket-propelled gliding rats attacking a zillion drone missiles and an over-muscled, shade-wearing Gamma monster ripping into a floating ‘lava lamp’ might not sound the most convincing of plot devices on bare paper, but they truly produce some astoundingly good open-mouthed moments on the printed page; “Hey! What’s he gonna do for the other fifty-nine minutes?”

Equally as engrossing as Ewing’s storyline, is Paco Medina’s outstanding pencils. Presumably “influenced by the designs worn by the Emperor's Royal Guard in Star Wars, specifically in the headpiece design and their habit of holding long ornate staves”, the Secret Empire appear regally dangerous, regardless of the absurdity of their molten-based machinations. Whilst the Venezuela-born artist’s sketch of “the Muscle” going “full Hulk” into the side of the subversive organisation’s gigantic helicarrier can actually be physically felt.

Writer: Al Ewing, Penciler: Paco Medina, and Inker: Juan Vlasco

Conan The Slayer #10 - Dark Horse Comics

CONAN THE SLAYER No. 10, June 2017

Selling some 7,520 copies in June 2017, at least according to “Diamond Comic Distributors”, Issue Ten of “Conan The Slayer” contains a Cullen Bunn storyline which frankly never stops from the moment Jehungir Agha decides to take “ten mighty archers of Khawarizm” on to “the isolated island of Xapur”, up until the book ends with “that inhuman juggernaut”, Khosatral Khel, literally tearing the coastal town lord’s men to pieces with his bare hands. Indeed, such is the velocity of the North Carolina-born writer’s break-neck narrative, that at times it’s hard to momentarily catch one’s own breath before plunging back into either Conan’s desperate, head-long charge through the corridors of the ancient fortress, or the barbarian’s unbelievably bloody battle with a giant deadly fanged snake.

Fortunately however, the American novelist doesn’t simply rely upon a carousel of action-packed set-pieces in order to retell Robert E. Howard’s “The Devil In Iron”, but impressively manages to include plenty of thoroughly enjoyable narration whenever his cast are too busy fighting for their lives to actually produce any dialogue. These insights into the Hyborian Age hero's thought processes are particularly engaging when the Cimmerian finds himself hurriedly bolting the solid steel door shut to the demi-god’s own chambers, and later as he silently pads his way up to a dais with his “eyes glued on the sleeping reptile” whilst searching for a hidden “magic Yuetshi blade that laid Khosatral low once before!”  

Unhappily though, there seems to be little that Bunn can do to improve the likeability of the enslaved Nemedian princess who accompanies the blacksmith’s son throughout almost the entirety of the twenty-two page publication. Open-mouthed with terror and predominantly impotent with fright, Octavia seems to do very little in this tale except hinder the titular character, and even criticises his numerous efforts to keep the “girl” alive, such as when he temporarily befuddles Khel by throwing a tapestry over his head or categorically states she is not to follow him into the lair of an oversized venomous serpent; “Crom! When I tell you to stay put -- stay put!” 

Wonderfully keeping stride with all these scintillating shenanigans is Sergio Fernandez Davila’s lavishly pencilled drawings. The Spaniard’s understanding and ability to sketch surging muscle is really put to the test throughout this comic’s entirety, and although he occasionally seems to struggle with the consistency of Conan’s facial features, there can surely be no doubting the vibrant life which he brings to the two lead combatants as they continually beat away at one another from scene to scene. 

Script: Cullen Bunn, Artist: Sergio Davila, and Colors: Michael Atiyeh

Captain America: Steve Rogers #13 - Marvel Comics

CAPTAIN AMERICA: STEVE ROGERS No. 13, May 2017

Just why Issue Thirteen of “Captain America: Steve Rogers” saw an incredible increase of seven thousand readers over its previous publication is arguably anyone’s guess, as such a significant surge of popularity can surely not be placed exclusively at the feet of Nick Spencer’s script? True, the two-time Cincinnati City Council candidate does finally explain within this book just how the titular character fought during World War Two on the side of the Allies when “he had been an agent of Hydra since childhood.” But in many ways, this “untold story” is actually secondary to the twenty-page publication’s prevalent plot of Baron Helmut Zemo enlisting “more resources” for Steven’s plan from within the criminal community.

Perhaps therefore this edition’s success can be assigned to the wonderfully detailed Arthur Adams (and Jason Keith) cover, which flamboyantly depicts the Invaders in their heyday brutalising an entire regiment of Nazi goose-stepping goons in an effort to dismantle a salvo of giant rocket shells? This dynamically-charged illustration really is as characterful as it is colourful, and smacks of the super-team’s Bronze Age shenanigans by portraying plenty of fisticuffs, as well as smiles; something which soon proves to be in direct contrast to the actual interior script which emotionally describes a mortified Rogers realising that his actions have caused the death of his best friend’s father.  

What should be easily agreed upon however, is that this magazine’s focus upon the thirteenth Baron Zemo and his trek through some of the Marvel Universe’s most recognisable villains, proves a highly entertaining experience, especially when Spence simply leaves the storytelling to artist Ro Stein. Indeed, the six-sheet sequence of Heinrich’s son ‘socialising’ with the likes of the Wrecker and his Wrecking Crew, Kraven the Hunter, Yellowjacket, Mister Hyde, Graviton, Serpent Solutions, the Circus of Crime and the Grey Gargoyle (politely sipping tea outside a shop front) makes for a fantastically fun visual journey…  And what better way of concluding the master swordsman’s massive ‘recruitment drive’ than by having it culminate with a double-splash featuring the fruits of Helmut’s efforts in their entirety; “You are with your true family now.”

Writer: Nick Spencer, Artists: Ro Stein & Ted Brandt, and Color Artist: Rachelle Rosenberg

Uber: Invasion #7 - Avatar Press

UBER: INVASION No. 7, June 2017

Kieron Gillen was quite right when he later wrote that the storyline to Issue Seven of “Uber: Invasion” “was a strange one to see come into existence”, for despite the comic containing plenty of the truly gratuitous mutilation for which “Avatar Press” publications are synonymous with, this particular twenty-two page periodical reads more like a medical text book for performing a major operation, than a comic book depicting the fall of Siegfried - the “First Nazi Battleship Fatality.” Certainly, it’s hard to detect any glimmer of emotion in the narrator’s ‘voice’ as they matter-of-factly recount the heroic self-sacrifice of African-American soldier Charles Rivers, and the pin-point precision attack by the “Zephyr” upon Markus’ throat and right eye ball with “diamond-edged blades”.

Arguably, such a monotone, “hyper-slow motion erosion” of the National Socialist monster, “sliver of flesh by sliver of flesh”, could have become quite a tediously gory read for this title’s 4,277 followers, with the assault on the German’s sight alone requiring a staggering nine frames in order to depict the cutting of his cornea and the subsequent self-rupturing halo activation which instantly disintegrates a third of the still-conscious Nazi’s head. However, that definitely is not the case here, as the text proves a more than compelling read by realistically describing the combatants’ options, considerations and consequences, almost as if they were authentic historical figures.

Gillen’s unexpected introduction of the red-suited super-swift Zephyr also ensures a surprising change to events from those anticipated when Razor’s ‘sneak attack’ upon a “fully-developed” Battleship causes no discernible damage whatsoever. Indeed, before “the initial five enhanced humans” somewhat nonchalantly stroll up to the sadistic Siegfried’s stationary, mid-punch form and take him apart piece by bloody piece, it momentarily appears that U.S.S. Colossus II is about to suffer an even more ignominiously fatal defeat than his older brother did in Paris.     

Topping off this clinical conclusion to the “first year of Uber Invasion”, is Daniel Getes’ vivid artwork. The penciller really manages to nail the sense of “speed with no kineticism” when illustrating the latest additions to the Allied super-human arsenal, by resisting the temptation to “try and get that Kirby-velocity” and simply capturing each “moment in the hyper-detail” instead. Little wonder therefore that this title’s British writer praise’s the “perfect” artist’s contribution in the magazine’s afterword.

The regular cover art of "UBER: INVASION" No. 7 by Daniel Gete

Predator Vs. Judge Dredd Vs. Aliens #4 - Dark Horse Comics

PREDATOR VS. JUDGE DREDD VS. ALIENS No. 4, June 2017

“Dark Horse Comics” have kept very quiet as why this comic book series’ finale was ultimately delayed from hitting the shelves for a staggering eight months. But considering just how much ground John Layman’s script covers within the confines of just twenty-two pages, it was quite possibly due to the former “Wildstorm” Editor and artist Chris Mooneyham desperately trying to storyboard an alien invasion of Mega-City One and its subsequent (surprisingly swift) downfall all in the space of a single pamphlet.

Indeed, considering that Issue Four of “Predator Vs Judge Dredd Vs Aliens” depicts the Archbishop Emoji’s apocalyptic death cult being massacred by Doctor Niels Reinstot’s “xenomorph-infected man-animal hybrids”, Judge Dredd’s extensive hunt for the lethal extra-terrestrials and creation of an uneasy alliance with the Yautja, as well as the lawman’s discovery, successful penetration and explosive destruction of the creatures’ subterranean hatchery, it’s incredible that the Milwaukie-based publisher didn’t decide to simply extend “Splice And Dice” to include at least a fifth instalment… As it is however, this concluding chapter’s narrative moves at such an incredible pace that it disappointingly turns what should have been a cataclysmic rematch between H.R. Giger’s lethal creations and the future metropolis’ finest into just simply yet another in a long line of hostile invasions which is all-too readily defeated by a couple of judges; “Control, this is Dredd. Alien organisms have been eliminated.”

Fortunately, despite the terrifying tempo of this “ultimate science-fiction crossover”, Layman still manages to provide a few moments of magic within his narrative, and cause a couple of surprises along the way too, such as the bug-eyed “self-proclaimed geneticist” coldly killing his psychic partner-in-crime, the “robo-messiah”, and later transforming into the “ugly, mother spugger” queen, Intercivus raptus regina, by self-injecting himself with the DNA serum he had originally concocted for Cassandra Anderson. Similarly, there’s plenty of fun to be had watching the Mega-City One judges and predators battling it out side-by-side, as they are literally swarmed by adult aliens and scuttling face huggers.

Whatever the cause for this magazine’s postponement, Chris Mooneyham’s pencilling shows no sign of haste, and instead delivers plenty of thrills with his gorily graphic illustrations of citizens being literally torn to shreds, and a wonderfully envisaged egg-laying alien monarch. In fact, the comic book artist’s drawings of an unshaven Dredd blazing away at his enemies one moment, and then angrily sticking a big finger in the face of the formidably tall Yautja in the next, was arguably worth the wait for this title’s culmination alone…

Script: John Layman, Artist: Chris Mooneyham, and Colors: Michael Atiyeh

Star Wars #14 - Marvel Comics

STAR WARS No. 14, March 2016

As the penultimate instalment to a six-issue crossover event involving the other “Marvel Worldwide” titles “Vader Down” and “Star Wars: Darth Vader”, this actual edition of “Star Wars” was presumably a complete nightmare to understand for any of its 118, 471 readers should they have unwisely decided to try and navigate the twenty-page periodical’s narrative without at least contemplating the comic’s ‘opening crawl’. Indeed, several of this book’s most dramatic moments appear to be based upon an intimate, almost encyclopaedic, understanding of Kieron Gillen’s take on “a galaxy, far, far away” rather than George Lucas’, and resultantly, the arrival of Commander Karbin, Chewbacca’s pasting at the hands of a Wookie bounty hunter and the villainous Doctor Aphra’s motivation for sparing Luke Skywalker, all arguably generate a sense of utter bemusement and suffer a significant loss of impact…

Perhaps the biggest example of this perplexity is the appearance of an imperial male Mon Calamari leading his own squad of stormtroopers. Surprisingly capable of wielding no less than four light-sabres, courtesy of “a cybernetic body inspired by that of the late General Grievous”, it soon becomes abundantly clear through the characters’ conversation, that Karbin and Vader have some significant history and would like nothing better than to see the other dead. But without an intimate knowledge of the Sith Lord’s own series, it’s intolerably difficult to know that the former Clone Wars commander has actually been “trained to replace Darth Vader” as Emperor Palpatine’s new apprentice, and that the leader of the Galactic Empire has actually actively encouraged such blatant treachery between his senior staff; “Today I take your place at the Emperor’s side! While you take yours in the grave!!!”  

Chewbacca’s decidedly one-way fist-fight with Black Krrsantan is similarly as mystifying, until Han Solo rather woodenly explains out loud (to no-one in particular) that the Millennium Falcon’s co-pilot has somehow got “who-knows-how-much Mandalorian Xenotox coursing through his veins”, and therefore needs a certain “useless trash barrel” to give him a “shot” in order to recover his formidable strength. Admittedly once illuminated, the previous few pages depicting ‘Chewie’ getting smacked about the Corellian YT-1300f light freighter makes perfect sense, but up until this point, the Kashyyyk-born smuggler’s utter impotence against his black-furred rival is both puzzling and perplexing.

For those who didn’t mind such backstory quibbles though, Issue Fourteen of “Star Wars” undoubtedly contains some superbly thrilling, action set-pieces; all of which are wonderfully illustrated by Brazilian comic book artist Mike Deodato. In fact, in many ways it’s a pity that this publication doesn’t focus more upon Vader’s literally glowing, four-page light-sabre battle with Karbin deep within the Jedi Temple on Vrogas Vas, rather than flit back and forth between the exploits of Luke, Leia, Han, and Chewbacca.

The regular cover art of "STAR WARS" No. 14 by Mark Brooks

Warhammer 40,000: Will Of Iron #3 - Titan Comics

WARHAMMER 40,000: WILL OF IRON No. 3, January 2017

Murderously merging this mini-series’ four potentially problematic sub-plots into one action-packed, blood-soaked gestalt of a publication, George Mann’s narrative for Issue Three of “Warhammer 40,000: Will Of Iron” arguably contains enough explosions, bolter pistols, chainswords and grisly decapitations to sate the appetite of even the most voracious devotee to the “dystopian science fantasy universe.” In fact, the titanic tussle between the Dark Angels and Iron Warriors on the planet Exyrion provides this title’s readers with a glimpse of practically every sort of weapon known to the servants of the Emperor, including battleships, drop pods, thunderhawks, rhinos, and Ravenwing bikers, as well as the vicious machinery of their chaotic counterparts; “Exyrion shall be defended.”

Quite cleverly however, rather than just sweepingly recount the planet-wide destruction that is taking place, the Sidewise Award-nominee’s storyline instead swiftly refocuses upon the underground exploits of Balthus, just as soon as Beoth has been ordered to “reclaim what is ours” by the Chaos Lord Korus. This particular writing ploy is a sound one, as it quickly leads to the audience experiencing all the claustrophobic concerns of the “devoted and loyal” Adeptus Astartes as they try to survive “the death-trap warrens of an inverted hive city filled with monstrous mutants”, as opposed to them simply being ineffectually carried ever onwards by an endless succession of battle scenes and splash-pages. 

The Darlington-born “Doctor Who” novelist even manages to give Altheous some significant ‘screen-time’, courtesy of a decidedly overlong conversational sequence set on the planet Tintaroth, where the Interrogator-Chaplain waxes lyrical to his (dis)courteous hosts as to the terminal fate their world faces should they chose not to side with Lion El'Jonson’s legion against the raging Chaos Host. Unfortunately though, much like the frames featuring Astor Sabbathiel, these departures from the Calaphrax Campaign carnage significantly slow down the twenty-one page periodical’s pace, and additionally raise some disconcerting questions as to some of the cast’s motivations.

For example, why does the “sombre, serious and dedicated” Altheous permit one of the nobles to live, having heard him speak heresy by stating that the Emperor of Mankind “holds no dominion here”? And, having found nothing but “the remains of an ancient squad of Dark Angels”, why does the Ordo Hereticus Inquisitor somewhat faintheartedly flee back to her ship from a derelict orbiting space installation, preposterously stating that “there is much to consider”?

The regular cover art of "WARHAMMER 40,000: WILL OF IRON" No. 3 by Nick Percival