Iron Man [2020] #10 - Marvel Comics

IRON MAN No. 10, September 2021

Arguably reading more like a story set during the 2015 comic book storyline “Secret Wars” than one based upon the exploits of Tony Stark from Earth-616, Christopher Cantwell’s script for Issue Ten of “Iron Man” probably had some within its audience scratching their heads in utter bemusement at its depiction of the Golden Avenger slowly coming to terms with a low-tech life on Megiddo. Indeed, considering that the rag-tag settlement’s “big man” isn’t revealed until quite late in the twenty-page periodical’s plot, there were probably quite a few bibliophiles convinced that Battleworld’s God Emperor Doom was actually about to make an appearance; “I feel like I went right to the wizard and somehow skipped the Wicked Witch of the West.”

Intriguingly however, the Chicago-born writer manages to subvert any such expectations by surprisingly presenting Wilbur Day as “the man behind the curtain”, and establishes a tricky emotional conundrum for Shell-head to overcome if he is going to peacefully co-exist alongside Stilt-Man’s growing community of extra-terrestrial kidnap victims. The genius inventor is quick to point out the number of times “one of Daredevil's most enduring arch-foes” has tried to kill him, and resultantly how difficult it is going to be for him to trust the former super-villain that the whole 'lost in space' situation facing him isn’t just part of some dastardly, diabolical plan by the bespectacled career criminal.

Such doubts though are swiftly set aside once an Ultimo robot attacks the village, and Iron Man is desperately required to ally himself with his former antagonist so as to best the giant automaton. Ordinarily, a battle between the titular character and one of the Mandarin's mightiest minions would be exciting enough, but Cantwell ramps up this pulse-pounding bout of pugilism an extra notch or two by having the machine physically eat some of the settlers it catches in one of its mighty mitts, including the rather likeable 'second-in-command' Yar.

Helping to pack this sense shattering sequence with plenty to put off the squeamish is Cafu, whose illustrations throughout “Megiddo” are prodigiously pencilled. The “Marvel Comics exclusive artist” appears to have a particular talent for depicting the sheer size of a dismembered Ultimo, which has long lain dormant as a ruin close to the colony, with many a reader possibly even 'hearing' the eerie silence of the large clearing as a curious Iron Man explores the long-dormant carnage looking for a source power.

The regular cover art of "IRON MAN" #10 by Alex Ross

Batman: The Detective #3 - DC Comics

BATMAN: THE DETECTIVE No. 3, August 2021

Providing a thoroughly insightful pen picture of a teenage Bruce Wayne’s apprenticeship under Henri Ducard in France, Tom Taylor’s script for Issue Three of “Batman: The Detective” caused the comic to rather impressively shift an estimated 49,000 copies in June 2021. Sure, the twenty-two page periodical doesn’t actually provide much in the way of progressing this mini-series’ central plot concerning the murderous machinations of the homicidal Equilibrium, but when the storytelling behind an aspiring Dark Knight’s fractious relationship with the “knowledgeable detective” is arguably this well-written, it’s doubtful many within this book’s audience were complaining.

Indeed, witnessing a naïve young millionaire slowly learn his man-hunting skills from one of the world’s greatest investigators debatably makes a welcome change of pace from this title’s ferociously-fast narration - especially when the cut-throat Didier is still taken down by the well-meaning amateur courtesy of a thunderous blow to the jaw with the killer’s own hand-gun. This exciting sequence really shows the potential the middle-aged Frenchman can see in his super-rich protégé, and contains some nice, notable nods to the fully-established Caped Crusader, such as Wayne wearing a forerunner of his famous utility belt; “You always keep handcuffs on your belt, Kid?”

Likewise, the Australian author does a good job of highlighting just where Batman developed his need to “primarily [be] a night time thing” and not “a morning person.” This necessity clearly will lead on to the crime-fighter’s eventual creation of his cowled alter-ego, yet is rather intriguingly depicted as not being a lifestyle which automatically leads to the vigilante requiring to ‘go it alone.’ In fact, Taylor makes it crystal clear, through the lad’s bungled attempt to track “an accountant for two crime families”, that in Ducard’s eyes a successful gumshoe needs “to have friends who have your back” as “you can’t do it all on your own”. 

Quite possibly this publication’s most memorable moment though, is Andy Kubert’s superbly-pencilled clash between the two ‘old friends’ in London, “ten years ago.” A misunderstanding at the very start quickly escalates into the pair badly hurting one another before the Dark Knight gains the upper hand, and despite requiring a little assistance from Henri in order to stop the metropolis from being “engulfed in nuclear fire”, still ultimately arrests his former-mentor for all the cold-blooded assassinations he has carried out in the past.

Writer: Tom Taylor, Pencils: Andy Kubert, and Inks: Sandra Hope

Bad City Blue - Rebellion [Part One]

BAD CITY BLUE, August 2021

Described by “Rebellion” as “a bleak highlight from the mid-Eighties, full of class warfare, gritty sci-fi, and big concepts”, this opening half of the next title in the Oxford-based publisher’s “series of digital-only 2000 A.D. collections” certainly delivers an enthralling vision as to just what Humanity can expect from life in the distant future, should some brave souls decide to emigrate to a self-isolated dome partially buried into the side of an asteroid. However, rather than spend any time at all leading its audience by the hand through the opulent residences of such a civilization’s Class A citizens, and then contrasting this with the much more decadent existence of the less wealthy population, Alan Grant’s narrative rather shockingly simply throws the reader head-first straight down to the very dark depths of Bader City’s depravity.

This riveting insight into the ultra-violent world of Blue and the button man’s brutal battle with a gang of cold-hearted murderers, proves an excellent way of immersing any perusing bibliophile straight into “Bad City Blue”, whilst simultaneously setting an incredibly fast pace for its plot. Indeed, within just a few turns of the page, the Scottish author has comprehensively established that this graphic novel’s lead protagonist represents the best interests of the decaying metropolis’ “decent folk”, and is perfectly disposed to follow their orders when it comes to gunning down any criminals who have become so big that they now threaten the floating space station’s natural order; “There may not be much of this city still fit for decent people – But what there is, it’s my job to keep that way!”

Cleverly though, the Bristol-born writer also soon establishes through the death of Gonza, that Blue’s beliefs might not actually be all that sound, and subsequently takes the hired gun on an exhilarating journey up to the very summit of the self-contained conurbation in order for him to discover first-hand just why nothing seems to be being done with all the breakages and leaks occurring throughout downside’s lower levels. This moment of realisation that the “real bad scummer” has been utterly abandoned by the same authoritarian figures he has been risking his life for provides an engrossing hook for this publication’s second half, especially when the robots who have been covertly ensuring that the Slumlands are blissfully ignorant of their masters’ mass-evacuation, decide to dispatch three more button men to specifically eliminate him.

Nevertheless, perhaps this comic’s biggest thrill-powered draw are co-creator Robin Smith’s incredibly dynamic layouts, which do a tremendous job of depicting the squalor within which Blue works. The British artist’s pencilling of the shotgun-loving hitman fending off a pack of giant, flying sharks is debatably this book’s highlight, albeit the illustrator’s attention to detail when sketching a smack of multi-limbed mechanical Jellyfish makes them equally as impressive a feast for the eyes.

Writer: Alan Grant (a.k.a Craig Lipp), Artist: Robin Smith, and Letters: Steve Potter

Batman: The Detective #2 - DC Comics

BATMAN: THE DETECTIVE No. 2, July 2021

Despite being strangely devoid of any real physical action involving this comic’s titular character, Tom Taylor’s fascinating focus on portraying the Dark Knight as a keen investigator throughout this twenty-two page periodical still deservedly ensured Issue Two of “Batman: The Detective” was the twenty-third best-selling publication during May 2021 – at least according to “Diamond Comic Distributors”. In fact, considering just how well written this short-lived insight into Bruce Wayne’s relationship with his old teacher, Henri Ducard, arguably is, it’s perhaps surprising that this particular instalment concerning the Caped Crusader’s “European Adventure” didn’t sell more copies.

For starters, the Melbourne-born writer’s ability to depict the sheer mercilessness of the Equilibrium and the criminal organisation’s zealous determination to murder any person whom Batman has historically saved, really comes across when its leader decides to kill the utterly naïve Matthew. True, the idiotic minion doesn’t really generate much in the way of sympathy from the audience due to the fact that he had previously attempted to assassinate a bed-ridden Knight in hospital. But even so the goon’s sudden bullet to the head, simply because he would have died if the World’s Greatest Detective “hadn’t caught me” during his escape from the medical institution, is a truly horrifying moment.

Likewise the Australian author is very good at penning the somewhat tense atmosphere created by Wayne meeting up with his old mentor, Ducard, on a Paris-bound train. Both men clearly have a lot of mutual respect for one another. Yet it’s also very evident that Batman doesn’t agree with Henri’s amoral reputation as a killer within the criminal underworld, and as a result is extremely perturbed to accept his assistance; “But if it helps with your ethical conundrum here, just know more people will die without me. Also, I’ve been fully pardoned for all my known crimes.”

Admirably assisting this comic’s storytelling with some eye-catching visuals is Andy Kubert, whose pencils depicting both Matthew’s realisation that his own words have lethally sealed his fate and Ducard’s stunned amazement that he’s not as immortal as he perhaps thought, truly showcase their heightened emotions. In addition, Brad Anderson's colours help provide this book with some highly memorable action sequences, such as the splash page of Batman dangling the doomed Equilibrium stooge from the clock face of Big Ben during a sunset, or the partially-illuminated night-time chase scene between Bruce and Henri across the top of a "TurboTrain à Grande Vitesse" during a torrential downpour.

The regular cover art for "BATMAN: THE DETECTIVE" #2 by Andy Kubert & Brad Anderson

Conan: Serpent War #2 - Marvel Comics

CONAN: SERPENT WAR No. 2, February 2020

Captivatingly pairing up this comic’s unlikely cast across two different time periods in their combined defiance against the Elder Gods, Jim Zub’s script for Issue Two of “Conan: Serpent War” probably pleased the vast majority of its 22,420 readers in December 2019. Indeed, the Canadian author’s development of Solomon Kane’s burgeoning relationship with Moon Knight makes the deadly duo’s escapades in England 1584 A.D. utterly compelling, and strongly suggests that the partnership could plausibly work in a future title together if penned with the same liveliness; “Slow down, Big Hat. I’m not with them. If you were fighting snake guys, then I think we’re on the same side.”

Perhaps unsurprisingly considering the strong-willed characters concerned, the same mutual respect does not appear all that forthcoming with Conan of Cimmeria and Agnes De Chastillon though, who could best be described as being prickly with one another. This hostility doesn’t admittedly manifest itself to the point where the two swashbucklers trade sword-strokes, but the Sixteenth-Century Frenchwoman’s somewhat infuriating ability to see a chauvinistic slight towards her in everything the Barbarian says and does, strongly suggests that if the pair weren’t entwined “on this snake-tainted journey” that they would not get along in the slightest.

Adding an extra element of intrigue to this twenty-page periodical’s proceedings, is Zub’s inclusion of the “Great Satyne”, a servant of Set from the village of Tezunar during the Hyborian Age. This priestess appears both generous and benevolent to her people, which resultantly generates a remarkable amount of positivity as to the young Stygian’s personality. However, having suddenly been approached by the living manifestation of Set, it quickly becomes clear that the “loyal and fervent” servant will not be so forgiving to those warriors who have “set upon a path to take” a sacred family heirloom “and shatter its power”.

Supporting so diverse a story is Stephen Segovia as the publication’s leading artist and Vanesa R. Del Rey, who once again pencils this book’s haunting sequence of James Allison on his deathbed. The Filipino illustrator’s panels depicting Captain Basso’s treachery and his sailing ship’s subsequent destruction at the hands of Marc Spector’s alter-ego is absolutely first-rate, and does a terrific job of cementing the aforementioned friendship between the Fist of Khonshu and Robert E. Howard's crack-shot Puritan.

Writer: Jim Zub, Artists: Stephen Segovia & Vanesa R. Del Rey, and Colorist: Frank D'Armata

BRZRKR #4 - BOOM! Studios

BRZRKR No. 4, July 2021

Surely showing this mini-series’ mass-murdering machine at his most vulnerable as the crestfallen killer single-handedly faces the combined armies of his late father’s surviving enemies, Keanu Reeves and Matt Kindt’s script for Issue Four of “BRZRKR” certainly imbues the titular character with plenty of intriguing emotions. In fact, this entire twenty-page periodical’s plot contains an enthralling abundance of its cast feeling either extreme regret, mental anguish, physical pain, self-indulgent anger, jealously-driven fear, paternal disillusionment or overwhelming grief; “So long ago. I always assumed it was time that made me forget. And distance. I’ve lived a thousand lives since then. The memory is still there. Perfectly intact. It was just waiting there.”

Foremost of these non-blood soaked hooks is the way this comic’s collaborative penmanship depicts Bezerker’s parents finally having a parting of ways over their son’s future. The inhuman warrior’s mother has always been shown to have his best interests at heart, even when they badly conflict with the power-mad machinations of the young man’s (step) father, and thus her decision to pray for a magical gift from the gods which promises to “take the curse from” her child makes perfect sense. Unfortunately however, such a present would also badly jeopardise the dictatorial plans of her husband, who fatally decides to put his own greedy ambitions as King ahead of those of his family.

Likewise, there’s a real change shown in both the lead protagonist “cursed and compelled to violence”, as well as his modern-day head shrink, Doctor Diana Ahuja. Bezerker’s despair at the pitiless death of his mother, along with his stark realisation that much of her demise lies at the feet of his father’s selfish aspirations, weighs so heavily upon the half-mortal half-deity, that he eventually decides to commit suicide in the most grisly of fashions, rather than live any longer. Whilst the U.S. Government’s psychiatric ‘tool’ realises just how mentally damaged her patient must be, and somewhat surprisingly decides to suddenly ignore her orders by being completely honest with her patient for once.

Of course, that’s not to say that there still isn’t buckets of gore aplenty for those bibliophiles who only plucked this publication off of the spinner-rack for its gratuitous depiction of half-naked wildlings being brutally broken into a bloody pulp. In fact, neatly dispersed in between all this comic’s healthy exposition as to how Bezerker discovered he couldn’t be killed, is arguably some of artist Ron Garney’s most grisly-looking demises to date, including a sequence depicting the black-haired ‘weapon’ slaughtering his opponents with the jawbone of horse as if he were the biblical hero Samson himself.

The regular cover art for "BRZRKR" #4 by Rafael Grampa

Black Widow #8 - Marvel Comics

BLACK WIDOW No. 8, August 2021

Featuring a couple of marvellous guest-appearances by Spider-Girl, along with a truly pulse-pounding conclusion concerning the titular character’s desperate attempt to liberate Yelena Belova from the clutches of Apogee’s most-recently assembled goon squad, Kelly Thompson’s script for Issue Eight of “Black Widow” ably demonstrates just why this comic book won the 2021 Eisner Award for Best New Series. Admittedly, this publication’s audience need to navigate a handful of lengthy conversations in order to reach its ‘blood and thunder’ moments. But even such scenes as the “newly-powered Lucy” talking to the dusty remains of the recently-deceased Stan in an emotional soliloquy are so well-penned by the American author that they prove intriguingly engrossing; “It made me feel better. He shouldn’t be alone. I wouldn’t want to be. If it happens to me… Don’t leave me alone, okay?”

Foremost of this twenty-page periodical’s numerous strengths though, has to be the aforementioned Anya Corazon’s ‘secret spy stuff’, and her eventual decision to reveal her alter-ego once she realises a number of her fellow cultists are about to ingest the self-same liquid which “decomposed a guy.” The young girl’s noble action to shed her disguise is extremely brave considering the scale of her hooded opposition, and definitely provides a few worrying moments when it becomes clear just how badly outmatched she is despite her own formidable super-abilities.

Likewise, Thompson presents a fascinating insight into her incarnation of Natasha Romanoff, and the black-clad assassin’s warm relationship with the White Widow. This comic’s opening rather nicely shows just how close the two women have become emotionally since the red-haired Avenger ‘lost’ her baby son, Stevie, and this greatly adds to the Russian’s somewhat ‘tongue-in-cheek’ attitude later on when she realises Belova has unwittingly walked straight into the very heart of Apogee’s criminal underworld, and is going to “be spitting mad when I rescue her…”

Of course, any critique of this second instalment to the “I Am The Black Widow” storyline would be wholly unfair if the prodigious pencilling of Elena Casagrande and Rafael De Latorre weren’t also praised. There’s arguably quite a hint of Todd Mcfarlane’s insanely complicated webbing to this book’s sketches of Spider-Girl when she desperately flees the confines of The Tenderloin. Whilst the incredibly-dynamic double-splash illustration highlighting the former-Red Room operative easily beating the best villains Apogee has to offer is a serious feast for the eyes for any action-orientated reader.

The regular cover art of "BLACK WIDOW" #8 by Adam Hughes