Alien [2023] #5 - Marvel Comics

ALIEN No. 5, October 2023

Unrelentingly brutal in its sheer savagery, Declan Shalvey’s penmanship throughout Issue Five of “Alien” must have caused even the most hard-hearted of readers to have had nightmares for weeks, as young Zasha has “one last chance to escape the thaw!” True, the Irish illustrator arguably makes it incredibly difficult for any within the comic’s audience to actually like “the runt” due to her utter lack of gratitude towards the synthetic who single-handedly saved her life. But this book’s blood-soaked body count alone should still cause many a bibliophile to momentarily look away in horror once the Xenomorphs close in upon a hapless Wendell Theen or surviving Weyland-Yutani Corporation commandos.

Indeed, with just one notable exception, every character introduced throughout this mini-series meets an incredibly gruesome end during the protagonists’ “last-ditch effort to escape the moon.” Whether it be having their head literally sliced clean off whilst they’re waxing lyrical about how they selfishly just want to escape all the mutilated violence alone in an escape craft, or disconcertingly shot through the brain by one of the last people you’d expect to be able to fire a hand-gun under extreme stress. Perhaps this twenty-page plot’s most haunting demise though, occurs to poor Wendell, who having somehow endured walking upon a partially severed leg, succumbs to a face-hugger once he’s reached the very limit of his endurance; “This was supposed to be a simple… simple assignment.” 

Furthermore, in between all the death and destruction, the author also manages to continue making shocking revelations as to the fast-dwindling cast’s motivations. The foremost of these is possibly the realisation that Talbot Engineering Incorporated’s chief scientist had been hording mutilated alien body parts for years and then using their remains to stabilise her pregnancy. However, Daytona’s admission that he was actually a defective android who the Zahns repaired so as to conduct the “dirty work” is almost as disturbing, especially once he replaced Zasha’s biological father following the man fatally falling off the facility’s platform.

Artist Andrea Broccardo’s prodigiously-pencilled glimpse into Batya’s butcher’s shop should also be lauded, due to the splash page being slightly reminiscent of Ellen Ripley’s discovery of the U.S.M. Auriga’s clone laboratory in the 1997 movie “Alien Resurrection”. The Italian does a good job of providing all the personalities within this comic with plenty of emotion and jaw-dropping moments, even when a razor-sharp tail strikes one of them halfway through their victory speech.

The regular cover art to "ALIEN" #5 by Dike Ruan & Matthew Wilson

The Batman And Scooby-Doo Mysteries #11 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 11, October 2023

Unashamedly tapping into both the look and feel of the American cyberpunk media franchise “The Matrix”, Sholly Fisch’s script for “Bark Or Byte?” probably provided its readers with some genuine giggles and guffaws. True, the twenty-page periodical’s premise is rather straightforward in its depiction of Shaggy Rogers and Scooby-Doo donning black overcoats and shades in an effort to spot 'a series of numbers with periods in between them' amongst all the computer code surrounding them. But the tale’s delivered with such a tongue-in-cheek attitude that many a bibliophile would be hard pressed not to at least smirk at the duo’s desperate headlong dash through the ghost-possessed simulated reality.

Foremost of these laughs is probably found with the cowardly pair’s ability to immediately dream up a huge pile of Scooby-snacks and stuffed sandwiches, just as soon as they realise “you can be whatever you want” in the virtual world. This joke is later continued at the end of the comic’s conclusion, when the amateur sleuths are shown to be trying to physically force their way out of the criminal’s computer screens once they’ve somehow seen a pizza delivery guy enter the villain’s secret headquarters in the physical universe; “Could someone, like, get us out of here?”

Furthermore, Batman appears to play a secondary role throughout this book’s narrative, with the superhero spotlight firmly falling upon “the data broker Oracle”. This change of focus is both enjoyable and understandable, as the storyline follows a mysterious ghost somehow manipulating “one of the world's most complex and powerful computer systems” for their own ends. In addition, it provides Barbara Gordon’s alter-ego with an opportunity to educate those readers unfamiliar with Internet Protocol (IP) addresses, and how a person’s internet signal can be bounced “through a different country to mask his true location.”

Definitely helping imbue this publication with a Matrix-vibe are the layouts and colours of Erich Owen. The cartoonist’s number-infested, fluorescent green backgrounds and sketch of online hero Oracle’s face genuinely draw the audience into the Ghost in the Machine’s simulated world. Whilst his sketches of Mystery Incorporated make the characters look as if they’ve just stepped across from one of Hanna-Barbera’s classic animations.

Written by: Sholly Fisch, Drawn & Coloured by: Erich Owen, and Lettered by: Saida Temofonte

Alien [2023] #4 - Marvel Comics

ALIEN No. 4, September 2023

Incredibly fast-paced and impressively continuing several different plot-threads simultaneously, there was probably plenty for fans of Twentieth Century Studios’ science-fiction franchise to enjoy with Issue Four of “Alien” upon its release in July 2023. Indeed, Declan Shalvey’s twenty-page long narrative must have kept many a bibliophile utterly hooked with some truly gruesome demises, plenty of deadly xenomorphs slowly battering their way into Talbot Engineering Incorporated’s beleaguered base on LV-695, and a seriously surprising conclusion which would have had many a viewer spluttering out their popcorn if this comic’s storyline was being shown upon the silver screen; “You can come out now. It’s safe. Nothing’s going to hurt you. I promise.”

One of this book’s main intriguing elements is arguably scientist Batya Zahn’s revelation that her pregnancy is much more complicated than it ever seemed, with the woman’s unexpected baby emerging as an extra-terrestrial hybrid. Admittedly, this disclosure possibly came as no surprise to those bibliophiles already suspicious of the woman conducting “some covert work on the side.” But for others caught up in the hope that the unlikeable character’s sole saving grace was the Doctor’s love for her family, this plan to sell the “bio sample” to Weyland-Yutani so she could get “off this rock” is as shocking as her duplicity despicable.

Similarly as well-penned though is the handling of this publication’s secondary cast, with the Irish author debatably doing a good job in imbuing the likes of Doc Cleary, Harrison, and their Sergeant some solid moments in the spotlight. The facially-traumatised Harrison is especially electrifying, as he coldly leaves his fellow soldier to die with a face-hugger wrapped around his head, and then savagely states he’ll happily allow young Zasha to “burn or freeze” without a moment’s hesitation.

Possibly, this comic’s sole disappointment therefore comes in the shape of Andrea Broccardo’s pencilling, which at times arguably appears a little too Manga-like to convey the disconcerting darkness of Shalvey’s grim narrative. This ‘art-style’ is particularly irksome during the scenes featuring Zahn and her daughter, where the couple’s doe-shaped eyes jar with everything else – most notably when the panels surrounding them feature either company troopers racing towards the facility’s sole life-pod, or the Xenomorphs tearing towards the icy planet’s survivors.

The regular cover art to "ALIEN" #4 by Dike Ruan & Matthew Wilson

The Batman And Scooby-Doo Mysteries #10 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 10, September 2023

Initially appearing to promise plenty of deep-sea detective work aboard the first annual “Mega-Mystery Cruise”, courtesy of Bruce Wayne’s state-of-the-art exploration vessel attempting to “scan the ocean floor with incredible precision”, Ivan Cohen’s narrative for “Scooby-Cruise, Where Are You?” ultimately must have come as a great disappointment to its readers. Indeed, by the time the ship has dramatically been pulled off-course and docked alongside a deserted island, even the “entertainment executive specializing in working with established brands across diverse media” appears to have become so disinterested in his own storyline that it abruptly ends without Batman throwing a single punch.

Much of this lethargy sadly starts to appear following Velma unwittingly ruining one of the trip’s amateur detective games by immediately identifying the actor who supposedly stole a priceless diamond necklace. The premise that every other room contains a fake themed theft should have led to all sorts of investigative intrigues and criminal conundrums. But none of these Machiavellian machinations ever materialise as the writer simply seems to use them as an implausible explanation as to how a gang of salty swashbucklers could hide in plain sight on the Silver St. Cloud; “The pirates didn’t need a ship, because they were already on ours!” 

To make matters worse though, once the unruly crew of cut-throats are discovered, the author just lazily pens them supposedly being outfought by Mystery Incorporated off-screen. This resolution makes absolutely no sense considering that artist Dario Brizuela prodigiously pencils just a pair of the pirates previously terrifying the young sleuths, and smacks of Cohen simply needing the narrative to end before this twenty-page periodical runs out of sheet space.

However, arguably this book’s worst moment comes when Captain Hyde is revealed to be the Black Manta, who then calmly surrenders to Batman without any fight whatsoever. Just why a super-villain who in the past has been a match for the Justice League needed to don a fake beard and cutlass is never explained. Nor is his need to capture Wayne’s ship and redirect it to an isolated landmass, when the “ruthless underwater mercenary” already has access to so much advanced technology that he can simply teleport beneath the waves like a ghost at a moment’s notice.

Written by: Ivan Cohen, Drawn by: Dario Brizuela and Colored by: Franco Riesco

Dungeons & Dragons: Fortune Finder #2 - IDW Publishing

DUNGEONS & DRAGONS: FORTUNE FINDER No. 2, December 2023

In many ways something of a hard reboot of this mini-series, Jim Zub’s storyline for Issue Two of “Dungeons & Dragons: Fortune Finder” will probably still baffle and bewilder many a bibliophile with its early soup-based shenanigans and tongue-in-cheek theatrics. True, the overall adventure does start to make a little progress once the central character suddenly teleports to Dungeonland. But any excitement garnered from the comic’s revelation that the gnome girl is actually the highly sought after Shard is sadly soon dispelled, courtesy of the short-statured server's horrific death upon the horns of a stampeding bull; “Watch out for… the Cow.”

What the “Dungeons & Dragons fan favourite” author does do well though, is imbue this latest incarnation of Finder with plenty of brazen bravado, which leads to a few genuine loud-out-loud moments. Perhaps the best of these is Maddyknack’s green-skinned seeker spitting out his wine when he spots the small humanoid spying upon his business meeting from an overhead chandelier. Although the goblin magic user’s stoicism at being blasted to pieces by some explosive glyphs during the one time he’s not surrounded by healing clerics is perhaps just as waggishly penned.

The Canadian writer is also rather good at introducing the audience to “Sigil’s most famous casino” without delving too deeply into the “new Dungeons & Dragons sourcebook” which apparently “inspired” this comic. Rather than just wax lyrical about all the different deities and denizens who frequent the gambling den, as if the twenty-page periodical was a mere textbook, the reader is instead introduced to the frantic, almost chaotic gaming house via its army of catering staff – who buzz about the place’s patrons carrying all sorts of exotic dishes and drinks.

Helping to add the odd guffaw to this publication’s proceedings is Jose Jaro, who for the large part does a solid job of pencilling the fast-paced antics of young Finder. However, the illustrator does arguably appear to somewhat struggle with some of the larger panels he’s asked to populate, such as a double-splash page welcoming the audience to Fortune’s Wheel, which contains large areas of blank walls, ceilings, and floor space – despite supposedly being an incredibly popular saloon.

The regular cover art to "DUNGEONS & DRAGONS: FORTUNE FINDER" #2 by Max Dunbar

The Incredible Hulk [2023] #7 - Marvel Comics

THE INCREDIBLE HULK No. 7, February 2024

Crammed full of explosions, savage smackdowns and a barrel-load of flaming bullets, Phillip Kennedy Johnson’s storyline for Issue Seven of “Incredible Hulk” must have utterly enthralled its audience straight from the start as the Green Goliath goes toe-to-toe with an undead Ghost Rider. Indeed, this opening confrontation sets such a ferocious pace, that doubtless many a bibliophile were probably pretty pleased when the narrative finally slows down two-thirds of the way through the comic, thanks to Bruce Banner’s alter-ego pausing to bask in the friendly glow of some grateful, Texas-based migrant workers.

Intriguingly though, this edge-of-the-seat action is also surprisingly supplanted by the founding Avenger’s “teenage sidekick”, once Charlie Tidwell bravely decides to launch a recklessly futile assault upon a murderous War Devil, armed only with a ratchet. Having already ripped the throat apart of one hapless labourer, the terrifying beast genuinely appears about to tear the adolescent into pieces too, and is only stopped at the last moment by the story’s fiery motorcyclist when he drags the brute face-first through the dirt; “What’re you looking at, Man?”

However, this twenty-page-periodical’s plot is equally as good when exploring the less adrenalin-fuelled elements of Johnson’s tale too - most notably the revelation as to just where the oily, somewhat tribal-looking War Devil originates from. The notion that the evil entity is somehow feeding off of the fears of a collection of American military veterans is incredibly disturbing, especially when it quickly becomes clear that the grisly-looking gestalt loathes the haunted ex-soldiers as much as the “locusts” it sees trespassing upon its land. 

Helping to hurl the reader straight into this mesmerising mixture of ghostly gunplay, soul-shaking smashes and perplexing physical possessions are the layouts of Nic Klein. The German illustrator does such a fantastic job pencilling the burning bike of “Leo’s guardian angel” that the sound of the “badass” Harley’s engine leaps off the page and echoes in the ears. Whilst the sheer sense of determination on Charlie’s disfigured face as she defends the rundown settlement’s infants speaks absolute volumes for her resolute character. In addition, the artist does a top job in providing the girl with a genuine moment of light-hearted fun as she revels in her dream of accompanying a super-hero into the fray.

The regular cover art of "THE INCREDIBLE HULK" #7 by Nic Klein

Dungeons & Dragons: Fortune Finder #1 - IDW Publishing

DUNGEONS & DRAGONS: FORTUNE FINDER No. 1, November 2023

Despite bounding along at a ‘fair to middling’ pace, Jim Zub’s narrative for Issue One of “Dungeons & Dragons: Fortune Finder” will probably only appeal to those bibliophiles who share his evident in-depth knowledge of the Concordant Domain of the Outlands, or at least recently purchased “the new adventure book, sourcebook and monster manual themed around Planescape” by “Wizards Of The Coast”. Indeed, by the time Nottia Never-Lost, “the sharpest tout in all of Sigil”, has briefed this comic’s central protagonist as to the dangers of even looking at the Lady of Pain, everyone else’s head will arguably be spinning around in a confused mess of mortals, demi-gods, and deities as badly as the “amnesiac hero” is himself.

Such a deluge of different divinities, denizens, devils, and numerous locations, all of which can apparently be reached simply by walking through an unguarded gateway, is genuinely suffocating, and disappointingly drowns out what had been a rather promising start set inside the decidedly dangerous tavern, the Hooded Lantern. This ‘opening’ is most assuredly the highlight of the book, as “Finder” is intriguingly depicted being held at the mercy of several seriously mean marauders, who want to know his business before they slit the pointy-eared adventurer’s throat. However, just as soon as the young Elf narrowly escapes his incarceration, little excitement follows, besides a literal killer of a cliff-hanger where Maddyknack's murderous goblin minion decides to pluck some mysterious shard off of the witless wanderer's corpse.

In fact, the vast majority of this comic appears to have been penned just to introduce its audience to “the strange city and how it connects to outer planes like The Abyss, The Nine Hells and Mechanica”, as well as perhaps a little cynically, encourage the odd customer to buy into the role-playing game upon which its based. Of course, this isn’t a new sales ploy by any means. But perhaps on this occasion the “fan favourite” author’s story might have been better served by him providing some background to the City of Sigil in a more piece-meal fashion as the plot progresses, rather than off-loading a twenty-five-panel flurry of gobbledegook proficiently pencilled by artist Jose Jaro; “It’s at the centre of the ring on top of the ring inside the ring, separate yet central, hence all the doors. Don’t overthink it.”

The regular cover art to "DUNGEONS & DRAGONS: FORTUNE FINDER" #1 by Max Dunbar