Black Terror #5 - Dynamite Entertainment

BLACK TERROR No. 5, February 2020

There can surely be little doubt that Max Bemis’ penmanship for Issue Five of “Black Terror” will unquestionably catch a few fans of Richard E. Hughes’ co-creation completely off-guard, whether they were anticipating a somewhat hostile reaction to the pharmicist's long-overdue visit to his beloved “slip up”, Myrna, or Robby’s evident anger at a seventy-four year-old Bob Benton finally coming to see him having ignored his ‘cloned’ son for most of the heavily bearded, drug-taking deadbeat’s life; “When you despise everything around you, near-invulnerability ain’t no blessing. Thanks, Pops.” In addition, this twenty-two page periodical packs a conclusion which is not only shockingly sad in the extreme, but will irrefutably cause those who witness it to yearn for the far less emotionally complicated days of the Golden Age of Comics…

To begin with however, the New Yorker’s narrative commences with a fairly bog-standard scene depicting “the cosmonaut unaged” returning “to find the love of his life withering away” as a white-haired spinster living in a somewhat unremarkable abode. Romantically stage-managed, with artist Ruairi Coleman imbuing the titular character with all the innocent-faced, sweet-smiling charm of a bespectacled Clark Kent, this tenderly-pencilled introduction provides the tale with so totally disarming an opening, that it isn’t until the female science fiction novelist suddenly offloads upon her former lover with decades of pent-up angst that it becomes clear the American author is actually going to take his audience on quite the poignant passage.

Benton’s interaction with his petulant offspring is similarly infused with impassioned speeches concerning the unfairness of life and a modicum of physical conflict. Yet whereas Bob’s poor relationship with Myrna is clearly based upon the sense of betrayal the woman feels at being abandoned by the Black Terror’s alter-ego upon giving birth, the costumed vigilante’s connection to his son is swiftly revealed to be one of almost equals, where both men are constantly struggling with anxiety and depression on account of the losses they have suffered. This bond eventually leads to this comic’s fateful finale, as a world-weary war-veteran implores his super-powered spawn to take over his infamous crime-fighting mantle.

Such word-heavy, dialogue driven sequences doesn’t mean that this publication is entirely devoid of pulse-pounding pace though, as Bemis still somehow manages to crowbar in a fantastically ultra-violent flashback sequence into the mix. In fact, Doctor Disgusting’s bizarre experimentation upon his nemesis’ reproductive system, and the Nazi scientist’s subsequent horribly drawn-out demise in a laboratory fire, would undeniably have been the highlight of this tale if not for this book’s final page…

The regular cover art of "BLACK TERROR" No. 5 by Rahzzah

Doctor Who: The Thirteenth Doctor #2.3 - Titan Comics

DOCTOR WHO: THE THIRTEENTH DOCTOR No. 2.3, April 2020

Bearing in mind that this twenty two page periodical depicts the exploits of two incarnations of the Doctor, four members of the TARDIS crew and the Machiavellian machinations of both the Weeping Angels and several automatons animated by the Nestene Consciousness, there surely can’t have been many fans of this comic who weren’t in awe as to just how much energy Jody Houser imbues “A Little Help From My Friends” with. In fact, seeing as how well all the different aforementioned elements interact with one another, the vast majority of this ongoing series’ readers were probably lamenting just why the American author’s script for Issue Three of “Doctor Who: The Thirteenth Doctor” hadn’t been used as part of a screenplay for an actual broadcast (Christmas) special of the BBC science fiction programme.

For starters, there’s plenty of tension to be had out of the marvellously penned sequences involving the titular character and Martha Jones cautiously rummaging about “some creepy” clothing store. Surrounded by the heads, arms, legs and torsos of numerous mannequins, some bibliophiles might have anticipated the confrontation awaiting the overeager explorers just around the corner. But the sudden appearance of a featureless police officer lurking in the back storeroom is still rather startling, especially when a sudden jump scare is thrown into the mix a la the Auton’s hand from the March 2005 televised story “Rose”.

Likewise, the Eisner Award-Nominee’s portrayal of the Tenth Doctor, teaming up with Ryan Sinclair, Yasmin Khan and Graham O’Brien, is similarly tense, with the Time Lord’s “Fam” working in unison to thwart the feeding frenzy of a Weeping Angel. The dialogue for both Ryan and his granddad is absolutely spot on throughout this slowly-evolving ‘chase’, yet is only a taster of things to come, when Houser turns her attention to the banter between the “happy-go-lucky” Gallifreyan and his female successor; “Weeeell, plan is really more of a metaphor for making it up as I go along.”

Helping all these scintillating shenanigans along are Roberta Ingranata’s marvellous storyboards and Enrica Eren Angiolini's colours, which impressively exude both the appropriate levels of apprehension needed for so dark a narrative, as well as the physical nuances of the very actors involved in the television show. Indeed, the mannerisms and facial expressions of the leading cast, especially Jodie Whittaker’s Thirteenth Doctor, are so good, that in some ways it’s hard not to imagine this comic simply being a collection of colourised tele-snaps from one of the show’s missing episodes.

The regular cover art of "DOCTOR WHO: THE THIRTEENTH DOCTOR" No. 2.3 by Karen Hallion

Danger Girl #2 - Image Comics

DANGER GIRL #2, May 1998

Absolutely crammed full of high octane car chases, gun-toting helicopters and shadowy spycraft, J. Scott Campbell and Andy Hartnell’s narrative for Issue Two of “Danger Girl” clearly gave its 82,251 strong audience “something that seems familiar, but at the same time is brand new”. For whilst the twenty-two page periodical’s plot undoubtedly reminded its fans “of greats like James Bond, Indiana Jones, and G.I. Joe”, the sheer sassiness of Abbey Chase, unorthodox nature of Sydney Savage, and cringeworthy smoothness of Johnny Barracuda also imbues the comic’s leading cast with their “own distinct personality and feel.”

Foremost of this utterly engaging world is the fast developing friendship between the team’s newest recruit and its well-established Australian operative. Agent Chase’s frantically-fast car pursuit on the outskirts of Paris is as gripping as it is pulse-pounding, especially when she decides her “heavily modified Porsche Boxster” would make a better land-to-air missile than mode of transportation. Yet her success in destroying two heavily-armed helicopters with some quick thinking, a grenade pin and a two-seater sports cars isn’t just for show, but also provides Savage with all the evidence she needs to readily accept her new co-player; “Abbey. About those Danger Girl physical requirements… I think it’s safe to say you’ve qualified.”

Setting aside all its sense-shattering, roadside shenanigans, “Dangerous Liaisons” also delivers when it comes to presenting this seven-part series’ resident “girl magnet”, the Barracuda. Apparently exuding a charm which is “more effective than guns”, the C.I.A.’s finest literally skis into this book as if he was the main protagonist of Peter Hunt’s 1969 film “On Her Majesty's Secret Service”, and even gives the reader a cheeky, fourth wall breaking wink, which is seemingly pencilled by Campbell to be highly reminiscent of Bond actor George Lazenby.

Johnny’s introduction admittedly somewhat slows the pacing of this comic’s storyline a little. However, this ‘breather’ is short-lived, and quickly leads into a wonderfully tense exploration of a soiree “being held tonight, hosted by former cohorts of the Peach” in Switzerland. Undercover and surrounded by red-beret wearing, gas-masked goons, a scantily-clad Abbey’s search for a mysterious ancient shield owned by the aforementioned special weapons smuggler, genuinely resonates some tension, particularly when the murderous owner of the artefact pays an unhelpful visit back to his "very own suite complete with a bona fide sweetie!"

Plot: Andy Hartnell & J. Scott Campbell, and Pencils: J. Scott Campbell

Ghostbusters: Year One #1 - IDW Publishing

GHOSTBUSTERS: YEAR ONE No. 1, January 2020

Openly publicised by “IDW Publishing” as something of a ‘cash-grab’ riding upon the “anticipation of the new Ghostbusters feature film coming to theatres Summer 2020”, this twenty page periodical delivers both a refreshing insight into Winston Zeddemore’s first few days working with the Boys in Gray, as well as an engaging sense of nostalgia, courtesy of Erik Burnham cleverly weaving the former marine’s battle against Edgar Allan Poe’s ghost in amidst the events of Ivan Reitman’s 1984 American supernatural comedy film. Indeed, the Minnesotan writer’s script for Issue One of “Ghostbusters: Year One” is so enjoyable, that in many ways this comic feels like some sort of DVD or Blu-Ray extras documentary, featuring a whole host of “never-before-seen” authentic extracts simply chopped from the movie in the cutting room so as to reduce its running time.

Correspondingly as compelling is the American author’s decision to focus this mini-series’ opening instalment upon “the first person hired to strap on a proton pack outside of the founders themselves”, rather than take an arguably safer option of concentrating upon the smart-mouthed antics of Peter Venkman, or infectiously enthusiastic shenanigans of Doctor Ray Stantz. Described as “a deeply spiritual man who will become the soul of the team”, there’s a great deal of humour to be had watching Zeddemore’s incredulity at being armed with a potentially lethal proton packed “weapon” after just fifteen minutes of firing at pumpkins, and it soon becomes clear why artist Dan Schoening felt it was “really easy for readers and viewers of the films to pop yourself into his position and experience it through him.”

Burnham also arguably masters the close relationship Winston quickly develops with “the heart of the Ghostbusters”, and their chit-chat concerning the new hire’s curt perspective on “sasquatch migration in the Pacific Northwest and how that ties into extra-terrestrial visitation patterns” proves a genuine laugh out moment within this publication. In fact, this book’s banter between all the leading cast is pretty much spot on, and as a result it’s really easy to hear the voices of actors like Ernie Hudson, Harold Ramis, Bill Murray and Dan Aykroyd whenever a quick one-liner or gobbledygook explanation is delivered.

Elevating the immersive reading experience even further though, has to be Schoening’s mouth-wateringly good storyboards, which genuinely look like stills taken from an animated motion picture as opposed to simply something pencilled for a comic. “Dapper Dan” clearly sees Zeddemore as a “really lovable character” and does a terrific job of imbuing Winston with all the fears and uncertainties one might expect from a novice Ghostbuster solely through the man’s expressive eye movements.

Written by: Erik Burnham, Art by: Dan Schoening, and Colors by: Luis Antonio Delgado

Red Sonja: Age Of Chaos #2 - Dynamite Entertainment

RED SONJA: AGE OF CHAOS No. 2, February 2020

Publicised as a comic book within which “Red Sonja is fully made to understand her victory over Kulan Gath not only led to the invasion of her world by a whole new kind of evil, but may cause time itself to end”, Erik Burnham’s script for Issue Two of “Red Sonja: Age Of Chaos” undoubtedly does it job. Yet having simply packed this twenty-page periodical with Lady Demon’s disinteresting explanatory dialogue as to how the end of the world happened and “Mankind is done”, it is hard to imagine that many perusing bibliophiles who encountered this word-heavy title upon their local spinner rack, subsequently took it to the counter as part of their ‘Pull List’.

For starters the comic opens with Chasity somewhat swiftly providing the Hyborian Age heroine with a recap as to the events in this mini-series’ previous instalment, and simultaneously touches upon the titular character’s own past adventures in modern day New York City; “A long story. Suffice it to say that magic has complicated my life more than once.” Unfortunately however, just as soon as this re-tread of old events has concluded, the “Minnesotan writer” then decides that Lucifer's red-skinned consort will simply deliver more of the same for the majority of the book, by subjecting the reader to an almost blow-by-blow account of Bad Kitty’s involvement in the build-up to the “punk rock fan turned vampire” getting “stuck in Fantasyland!”

To make matters worse though, the American author additionally blames this situation upon Red Sonja, because the warrior defeated Kulan early in the dark-hearted sorcerer’s career, rather than just repeatedly opposed him whilst the villainous magician “spread his evil for years to come.” This plot’s premise therefore debatably makes no sense whatsoever, as all Roy Thomas and Barry Windsor Smith’s co-creation did was logically decide to “dispose of Garth’s amulet where no mortal could reach it” by hurling it into the sea. There was no 'divine intervention' or prevailing sense of foreboding that this act “broke the cycle and changed all time.” It simply seemed like the best means to prevent Vammatar’s husband from returning to plague the planet once again.

Of course, all this elucidation on the part of Burnham’s penmanship doesn’t mean that Jonathan Lau lacks the opportunity to pencil some truly pulse-pounding panels packed full of ferocious fighting moves. Chasity tearing apart a couple of hapless vampires alone is debatably the highlight of this book. But even some superb ‘punch-ups’ between Lady Demon, the she-devil with a sword, and a Mohican-haired assassin can’t help maintain a continuous sense of momentum throughout essentially a publication long discourse.

The regular cover art of "RED SONJA: AGE OF CHAOS" No. 2 by Lucio Parrillo

Conan The Barbarian #11 - Marvel Comics

CONAN THE BARBARIAN No. 11, January 2020

Arguably for numerous fans of Robert E. Howard’s fictional sword and sorcery hero, one of Conan’s most engrossing facets is the mystery surrounding his eventual demise, and just how such an iconic character of the Hyborian Age finally met his doom. Many seemingly believe that King Conan gave up the throne of Aquilonia to his son, and sailed West “never to be seen in the civilised world again”, whilst others have sought their answers within Lin Carter’s 1972 poem “Death-Song of Conan the Cimmerian”. But one thing has always been certain and that is that the Cimmerian died “sword in hand, fighting against great odds, and sits now by the side of Crom on his mountain, laughing, drinking, fighting and wenching.”
 
Contemptibly however, that is not how Jason Aaron pens the adventurer’s demise in Issue Eleven of “Conan The Barbarian”, preferring instead to depict the monarch who has survived numerous decades “by the skin of my teeth and the edge of my blade”, solely being slain “by two small children.” Such an anticlimactic, even irreverent resolution, really must have grated upon the minds of this book’s 25,444 readers during November 2019, and resultantly, it is somewhat clear as to just why this “Marvel Worldwide” ongoing series’ popularity plummeted to the point where it was languishing as only the month’s seventy-seventh best-selling comic book.

Perturbingly though, the Alabama-born author’s profanities concerning his source material do not stop with his narrative simply showing Conan shuffling “off this mortal coil”, but subsequently goes as far as to suggest that they’ll be no seat beside the Cimmerian’s proto-Celtic Chief god either. True, Howard himself made it clear that the gloomy, savage deity known as Crom “doesn't care if individuals live or die, and… despises weakness” in his short story “The Tower of the Elephant”. Yet it’s still hard to reconcile Aaron’s ignorant-minded, almost childish celestial who testily commands the barbarian “to be gone from place” with the divinity consistently cursed within the fables published by “Weird Tales” way back in the Thirties. 

Sadly, with the exception of some excellent pencilling by artist Mahmud Asrar, it is doubtful many within this twenty-page periodical’s audience took anything positive away from so nonsensical a script as “By Crom”. No explanation is ever given as to the reasoning behind Conan appearing in the Afterlife as a small, young boy with a heavily pregnant mother, nor why, having ‘died’ numerous times during his climb to confront his creator, Aquilonia’s sovereign is pettishly ‘punished’ by being returned back to life in the Tower of Razael..!?!

Writer: Jason Aaron, Artist: Mahmud Asrar, and Colorist: Matthew Wilson

Boy Zero: Volume Two [Part Three] - Caliber Comics

BOY ZERO: VOLUME TWO, May 2016

If ever there was a chapter to a graphic novel which ensured that after reading it, the majority of its audience would then later return to its long-running narrative’s earlier instalments, it must surely be “The Christian Reformation”. For although the thirty-one page segment provides a satisfyingly, pulse-pounding ending to all the Machiavellian machinations taking place within Glass City, it also includes lots of wonderful nods back to the book’s earlier events, such as why the opening to “Boy Zero” begins with the foreshadowing of the metropolis’ fate by depicting a broom sweeping a street clean of burning detritus.

However, besides containing lots of visual pointers to its past, Charles Chester’s script also manages to throw a bit more light upon Detective Drekker’s illustrious career within the police force, and “cement him as a fallen hero of tragedy.” Indeed, despite the overweight investigator now needing a walking cane with which to perambulate, the man’s cognisance of the disaster about to erupt within his jurisdiction seems to imbue Nigel with some of the vigour not seen since his earlier days. Such unusual vivacity, coupled with the aforementioned flashback to his more “wide-eyed and hopeful” days as a uniform rookie bringing justice to a “maniac cop”, neatly bookends the protagonist’s profession. 

The “award-winning filmmaker” also does a good job of explaining just how come the ‘wrong’ killer was found at Joan Hagen’s flat. John Ficher’s coincidental presence inside the female author’s abode at the same time as Christian could easily have proved a contrived red herring, but fortunately its serendipity provides a plausible explanation as to just why Susan’s son takes the job as a maintenance man at the local cathedral and accumulates the technological equipment needed to broadcast his cry across the municipality; “Now, Mister Fisher. Tell me about your broadcasts…”

In addition, this comic makes such an impact upon the memory because of Shiloh Penfield’s harrowing depictions of violent slaughter and citywide calamities. Of particular note is the artist’s pencilling of a large jumbo jet crash-landing onto the one Glass City’s packed roads and literally sweeping all before its enormous wings in a truly terrifying wave of annihilation. The subsequent sight of a truly traumatised Edmund, silently curled up with his face in his hands, and surrounded by the corpses of the dead, is simply mind-numbing and just as impactful upon the senses as Kip’s earlier, terrified realisation that an aircraft is about to fall out of the sky.

Written by: Charles Chester, and Artwork by: Shiloh Penfield