Star Trek: The Mirror War #0 - IDW Publishing

STAR TREK: THE MIRROR WAR No. 0, August 2021

Starting with a thrilling infiltration of a Cardassian cargo vessel, and finishing upon the abduction of Reginald Barclay's evil doppelganger back to the Mirror Universe, it’s arguably evident straight from this twenty-page periodical’s get-go that its American authors were “absolutely thrilled” to return to the science fiction franchise’s highly popular parallel dimension. Indeed, there’s such a sense of forthright fun with this comic’s numerous capers, especially once an already frustrated Jean-Luc Picard is recalled “back to Earth to report to the Emperor personally”, that many bibliophiles were probably pre-ordering as many instalments of the planned thirteen-part event as their friendly local book store could muster.

Topping this publication’s numerous successes has to the Tipton brothers’ focus upon the Mirror Enterprise-D’s captain, and his growing resentment towards his superior officers for failing to show him the respect which he feels rightfully due. It is clear straight from this comic’s opening as the bald-headed egotist leads a raid upon a supposedly automated freighter, that the man is actually nothing more than a power-mad pirate. Yet his steadfast belief that if he ‘plays his cards right’ he could still usurp the Terran Empire’s throne for himself still makes compelling reading; “I’m taking him down. I’ll kill them all, and I’m taking him down.”

Likewise the penmanship depicting such notable Bridge Crew members such as Data and Deanna Troi proves just as entertaining, with the different character’s desires and aspirations repeatedly causing them to clash with one another – sometimes violently so. It’s hard to miss the Betazoid’s jealous glare at William Riker when the Commander appreciatively thanks the attractive Ensign Sonya Gomez for saving his life during a shoot-out, or to subsequently see the stark terror on the Inquisitor’s face when she unwisely mocks her android comrade-in-arms for missing his ‘friend’ Barclay and witnesses his cybernetically-enhanced super-strength first-hand.

Undeniably supporting all this agreeable storytelling are Carlos Nieto’s proficient pencils, which do a good job of making the comic’s considerable cast perfectly recognisable without resorting to photogenic quality portraits or well-known poses from the syndicated television series. The Spanish artist’s style really imbues the likes of Captain Picard with a dynamic, vicious athleticism which was rarely seen on the small screen, and definitely highlights that the goatee-bearded picaroon is still in his physical prime as he successfully outfights a deadly cut-throat during a sudden assassination attempt upon his life.

Writers: Scott Tipton & David Tipton, Artist: Carlos Nieto, and Colorist: DC Alonso

Conan The Barbarian #24 - Marvel Comics

CONAN THE BARBARIAN No. 24, October 2021

Besides being something of a lack-lustre lead in to “the landmark three hundredth issue next month and a shocking return to a fan-favourite Conan era”, Jim Zub’s script for “A Sacrifice At Sea” probably struck many within the publication’s audience as something of a non-story. For whilst the twenty-page periodical’s plot eventually serves up an antagonist of sorts for the Cimmerian in the shape of the unsociable navigator Naogu, it is debatably never made clear whether the mad sailor is actually responsible for either the “drowning hell” which almost sinks the good ship Crow, or the utterly bizarre sign seen “emblazoned across the sky” during a deadly storm.

Indeed, the circumstances surrounding just how Captain Hu’s sailing vessel suddenly finds itself assaulted on every side by numerous tower-tall waves during the middle of the night is never explained, as the Canadian author instead simply tries to intimate that the terrifying tempest has mysteriously been drawn to the Barbarian’s very location like a hunting hound following its prey’s scent; “And yet trouble always comes where you tread, no? What did you do to bring such a curse down upon your life?”

Of course, that isn’t to say that Issue Twenty Four of “Conan The Barbarian” doesn’t contain some pulse-pounding panels, all dynamically drawn by penciller Cory Smith, as the titular character desperately deposes a maniacally super-strong helmsman so as to allow the skipper to frantically take the wheel. Yet such a straightforward storyline as the muscle-bound adventurer simply surviving a night-time squall, no matter how lethally ferocious, is arguably hardly the stuff of Hyborian Age legends or the central basis of an entire comic book based upon Robert E. Howard’s sword and sorcery hero.

Somewhat cynically however, “A Sacrifice At Sea” doesn’t actually finish with the barbarian stoically sailing off into the sunset with the vessel’s half-dozen survivors, courtesy of Zub ‘bolting on’ to its end a short, disconcertingly unfinished tale involving the Queen of the Black Coast “years later”. This incongruous conclusion depicts Belit and her black-maned lover stumbling upon the entranceway to a temple, perturbingly prettified with the “ominous symbol” witnessed during the downpour which cost Hu and Naogu their lives, and abruptly concludes without either pirate actually stepping foot inside the wholly unwelcoming building.

Writer: Jim Zub, Artist: Cory Smith, Inker: Roberto Poggi, and Colorist: Israel Silva

Star Wars: War Of The Bounty Hunters Alpha #1 - Marvel Comics

STAR WARS: WAR OF THE BOUNTY HUNTERS ALPHA No. 1, July 2021

Announced in February 2021 by “Marvel Worldwide” as “the Star Wars comic event you’ve been waiting for”, this canon crossover miniseries’ prelude arguably asks quite a bit from its readers within the space of its opening few panels. For whilst Charles Soule’s script for “Precious Cargo” undeniably depicts Boba Fett demonstrating just how bad ass a bounty hunter he can be whilst battling inside the deadly Garkata Fighting Arena, some fans of George Lucas’ “galaxy far, far away” might find the Kamino-born clone somewhat unrecognisable from that depicted on the silver screen in Irvin Kershner's "The Empire Strikes Back".

To begin with, “one of the most feared bounty hunters in the galaxy during the reign of Emperor Palpatine” is apparently penniless to the point where he can’t even pay a doctor to repair Han Solo’s fast-failing carbonite block on the smuggler’s moon of Nar Shaddaa. This total lack of funds makes little sense considering just how successful Jango’s son has supposedly become, especially when he is strongly-favoured “by the fearsome crime lord Jabba The Hutt", and seems to have been penned simply to manufacture a reason as to why he’d leave his valuable prize behind in some disreputable backwater to be stolen.

In addition, the cold-hearted killer debatably doesn’t live up to his fearsome reputation either, despite apparently shrugging off being speared straight through the chest with an arachnid’s sharp-tipped limb during his final contest. The ill-fated Doc Ragon certainly isn’t the least bit intimidated by Fett, and even chides the bounty hunter for being historically disreputable. Whilst this book somewhat bizarrely ends with a still broke Boba impotently skulking away without any of his considerable winnings in the arena simply because he’s confronted by Kanji and a couple of the local hoodlum’s gun-toting gangsters; “You owe us for the money we lost on Wyrmen Lictor. Had a lot bet on her to win. You can earn all that back for us in one fight… Unless you’d rather just walk away.”

Easily this twenty-page periodical’s greatest asset is therefore the superb artwork of Steve McNiven, which does a truly fantastic job depicting all the dark griminess of the galaxy’s nefarious underworld, and its multitude of extra-terrestrial inhabitants. The Canadian illustrator’s ability to capture every minute detail of the central protagonist’s Mandalorian armour is excellent, as is his ability to sketch the bloody path the mercenary cuts so as to efficiently achieve his “title shot” against the tournament’s multi-limbed reigning champion.

Written by: Charles Soule, Illustrated by: Steve McNiven, and Color Art by: Laura Martin

Alien #6 - Marvel Comics

ALIEN No. 6, October 2021

Bringing this ongoing series’ opening chapter to a somewhat satisfying close, Phillip Kennedy Johnson’s narrative for Issue Six of “Alien” certainly contains its fair share of sense-shattering shocks and successful subversions of its readers’ expectations. Indeed, considering that this comic depicts an arguably unexpected death, Bishop lethally battering the terrorist Verdi-2 with a rifle butt, and the implication one of the survivors, other than Danny, is also carrying a Xenomorph embryo, it is arguably difficult to imagine just how the Eisner Award-nominee could have possibly crowbarred any more twists and turns into this particular twenty-page periodical.

Foremost of these surprises however, has to the revelation that the space station’s counsellor isn’t the only android on board Epsilon Station. Iris has arguably always come across as something of a cold-hearted killer, even if she is the supposedly loving girlfriend of Gabriel Cruz’s unconscious son. But having been prodigiously pencilled by artist Salvador Larroca being terminally bludgeoned in the head by the base’s gun-toting synthetic, the blonde-haired traitor is finally exposed to be little more than a homicidal artificial person who disconcertingly wants to “make Earth a post-organic utopia.”

Similarly as staggering, albeit much more traumatising considering he was this title’s central antagonist, is the sad demise of Weyland-Yutani’s recently retired chief of security at the hands of the lethal Alpha Xenomorph. Gabe’s survivability within the American author’s storyline has repeatedly been tested, and previously the ex-marine has always miraculously managed to come out on top despite receiving several near-fatal injuries. But having been betrayed by Director Ted Reynolds, and remotely-locked into a death spiral towards the planet’s atmosphere, Johnson sadly presents Cruz with a problem with which only the supreme sacrifice can solve; “I’d thought I’d see her again at the end. The one in the dark. But I don’t. I see an old family photo that I haven’t seen in years. It makes it all worth it, seeing them one last time…”

Enjoyably though, it is actually left to this book’s Spanish artist to provide this publication with a final sting in its tail, courtesy of the illustrator sketching a quartet of panels focusing upon the face of the space station’s cat with ever increasing scrutiny. This black-furred pet is absent throughout the rest of the comic, having only momentarily appeared in the previous edition, yet leaves the reader with a major, disheartening impression with its face-hugger scarred head…

The regular cover art of "ALIEN" #6 by InHyuk Lee

Dune: House Atreides #9 - BOOM! Studios

DUNE: HOUSE ATREIDES No. 9, August 2021

Considering just how enthrallingly impactive this publication’s opening is, as the newly ‘crowned’ Duke Leto Atreides presides over the investigation into his father’s tragic death, it is in some ways a pity that this comic book adaption’s narrative soon shifts its attention away from Caladan and transports its audience to the likes of Ix and the Spacing Guild’s central planet instead. Indeed, Brian Herbert and Kevin J. Anderson’s ability to project the emotionally tense atmosphere within the young nobleman’s courtroom is so palpable that an entire edition dedicated solely to Thufir Hawat’s initial findings, young Duncan Idaho's passionate recollection of his multiple warnings concerning the killer bull's temperament, and the subsequent interrogation of the Stablemaster would arguably have proved no chore at all.

Somewhat disappointingly though, that is not how the plot to Issue Nine of “Dune: House Atreides” plays out, as this twenty-two page periodical also follows the exploits of the son of the Ixian Ambassador to the Imperial Capital, C’Tair, the death of Elrood IX, and the murderous machinations of Baron Vladimir Harkonnen. Of course, all of these insights into the lavishly large universe of "the world's best-selling science fiction novel" are important, as they each chapter revolves around the dead Padishah Emperor’s plan to secretly support the Tleilaxu in “an ambitious research project to create a cheap and plentiful artificial form of the spice Melange.” But some bibliophiles’ minds will debatably still be distractedly racing from the revelation that Paulus was clearly murdered and that his cold-hearted wife is implicated in the despicable deed; “Mother, you will be silent, or I’ll have the guards evict you from the hall and lock you in one of the towers. I am the Duke.”

Ably aiding this comic’s storytelling are Dev Pramanik and Mariano Taibo’s layouts, which together do a proficient job in portraying the duplicitous political posturing occurring upon both Kaitain and Giedi Prime. However, it is the pencilling of Leto’s increasingly sombre mood which really catches the eye, as this book’s Indian artist really manages to imbue the somewhat thin, diminutive figure sat upon his father’s great throne with all the haunted looks a reader might expect from one so young being suddenly thrust into the limelight of the Landsraad and proclaimed “Head of a Great House.”

The regular cover art of "DUNE: HOUSE ATREIDES" #9 by Evan Cagle

Dungeons & Dragons: Legends Of Baldur's Gate #1 - IDW Publishing

DUNGEONS & DRAGONS: LEGENDS OF BALDUR'S GATE No. 1, October 2014

Featuring both a headlong dash through “the bustling urban centre”, and some sense-shattering swordplay by the Rashemaar warrior Minsc, this comic arguably doesn’t need to contain “a letter from series writer Jim Zub” to show just how much the fantasy tabletop role-playing game means to the Canadian author. Indeed, the Animex Honorary Award-winner’s love for “Dungeons & Dragons” absolutely resonates from every panel of this twenty-page periodical, as the moon elf Delina desperately attempts to outwit a pair of stone gargoyles amidst a delightful mixture of deadly danger and laugh out loud humour; “Stand down, dirty minions of evil -- Or face my hamster’s wrath!”

Furthermore, the Toronto art professor appears equally as adept at imbuing this book with some intriguing mystery and genuine sense of peril. Sure, it’s difficult to take “the legendary Ranger” too seriously when the do-gooder momentarily pauses whilst facing the murderous stone constructs simply to allow his positively rotund pet rodent to hiss at them. But beguilingly, just why the “wild mage sorcerer” who resurrected him is being chased by such devilish creatures is never explained, nor just why the fearless magic user is so convinced something terrible has happened to her brother “somewhere here in Baldur’s Gate.”

In addition, this publication’s plot is absolutely crammed full of just the sort of dice-rolling action that millions of players of Gary Gygax’s pioneering co-creation would expect, were they themselves traversing the municipal’s paved streets or visiting its famous late Fifteen-Century market in the upper city. Whether it be the aforementioned attack upon the lead-brained Minsc by a couple of vicious living statues, or his subsequent brush with the quite numerous and flamboyantly-armoured Watch, this comic contains plenty of character-driven shenanigans which could easily be recreated and enjoyed by its readers on their own RPG tabletop afterwards.

Undeniably helping Zub in his endeavour to provide this book’s audience with “that first taste of adventure” which “absolutely hooked” him is Max Dunbar, whose beautifully clean-lined style genuinely imbues this mini-series’ main cast with plenty of personality. The concept artist appears particularly good at getting across Delina’s inexperience and awkwardness when it comes to her less than successful spell-casting, with the teenager’s wide open eyes and occasional bead of sweat painting a picture of a thousand words.

Written by: Jim Zub, Art by: Max Dunbar, and Colors by: John-Paul Bove

Black Widow #10 - Marvel Comics

BLACK WIDOW No. 10, October 2021

Somewhat succinctly drawing to a close Kelly Thompson’s four-part storyline “I Am The Black Widow”, this twenty-page periodical’s plot certainly seems to do a good job of providing each member of its ever-growing line-up with plenty of ‘moments in the sun’. In fact, one of this comic’s greatest draws is its pulse-pounding coverage of “the Widows” violent confrontation with Apogee’s superhuman forces, during which Natasha Romanoff, Yelena Belova, Anya Corazon and (even the newly-arrived) Katherine Bishop are seem showing off their various special powers to the best of their abilities.

Enjoyably however, it isn’t just this book’s leading cast though who heavily feature in the defeat of the Olio’s cult-like leader, but the likes of the somewhat conceited Craig and haplessly headstrong Lucy too. These two former members of North California’s aspiring criminal organisation are a good example of the American author demonstrating that brains will consistently overcome brawn if given enough time, even if the electrically-charged Lucy is ultimately required to ‘tap into her deadly man-made gift’ so as to provide the titular character with a much-needed breather; “Taste of your own medicine, jackass. Feels cool to be dosed with something against your will, right?”

In addition, the Eisner Award-winner doesn’t fall into the trap of ending her narrative with a sickly-sweet conclusion either, preferring instead to show that there comes a cost to living the high-octane life of a meta-human, even one who has crossed back over to the side of justice. Admittedly, Lucy’s inability to now turn off her decidedly deadly touch smacks somewhat of the curse which befell the X-Man, Rogue, forty years ago. Yet the young girl’s plight still generates an intriguing attitude in some of Apogee’s antidote-affected brethren, who disconcertingly seem to feel that the woman is somehow blessed now she can “never touch anyone flesh to flesh… without hurting them” rather than cursed.

Undeniably helping this book bound along at an enjoyable pace are artists Elena Casagrande and Rafael De Latorre. The aforementioned double-splash action sequence depicting the Black and White Widows, along with Spider-Girl, is genuinely awe-inspiring, with Belova also providing a ‘laugh out loud’ moment as she ‘thwacks’ an assailant straight in the mouth whilst lecturing her battered attackers that they should be thanking her for helping them.

The regular cover art of "BLACK WIDOW" #10 by Adam Hughes