Captain America: Living Legend #1 - Marvel Comics

CAPTAIN AMERICA: LIVING LEGEND No. 1, December 2013

Initially pairing up the colourfully-costumed veteran of the Second World War with a group of fanatically-lead Soviet soldiers in the Bavarian Alps during the last days of the Third Reich, many readers of Andy Diggle’s script for Issue One of “Captain America: Living Legend” were probably a bit disappointed that the entire comic didn’t focus on the anxious troops' exploration of a secret German scientific bunker in the snow. Indeed, it’s difficult not to hear a palpable sigh of regret from this book’s 32,495 strong audience when Sergeant Volkov is treacherously shot in the chest by a supposedly surrendering Nazi, and the narrative suddenly leaps forward in time some decades later; “That incident was edited out of your official wartime record…”

Enjoyably though, all the barely contained distrust and politics which made the opening such a spell-binding and atmospheric experience does partially return at this twenty-two page periodical’s conclusion, courtesy of Steve Rogers and Sharon Carter witnessing “a top-secret orbital research station” crash-land in deepest, darkest modern-day Russian. This dialogue-driven sequence is admittedly rather simplistic in setting up the mini-series’ subsequent race against time between the United States’ super-hero and the U.S.S.R. But such a no-nonsense approach does mean that it’s pretty clear just what sort of dangers the Sentinel of Liberty is likely to be facing, and how incredibly high the stakes for success are going to be.

Unfortunately, what debatably does let this comic down is therefore it’s middle segment, which focuses upon the aforementioned space facility’s unwise attempt to tap “right into the Dark Energy Field” for limitless energy. Just how the D.E.U.S. reactor works, or what causes the catastrophic power spike isn’t explained, whilst artist Adi Granov’s disconcertingly sterile environment, all bright white and aqua blue, isn’t arguably all that convincing either – most notably his establishing shot of the station in low Earth orbit with a blurry (possibly photographic) background.

Of course, the same cannot be said of the Bosnian-American illustrator’s work at the start of this story, which immediately grabs any perusing bibliophile and conveys them straight back to 1945. There’s a genuine look of sadness in the dying Russian Captain’s eyes as he realises the futility of their mission, and then a final spark of anger when he realises the over-zealous Volkov sees his fatalism as weakness.

Script: Andy Diggle, Illustration: Adi Granov, and Lettering: VC's Joe Caramagna

G-Men United #4 - G-Man Comics

G-MEN UNITED No. 4, May 2024

Definitely providing this anthology comic with a strong opening is Rik Offenberger’s insight into just how well liked a super-hero can actually be by their fellow team-mates, when even Meredith Fremont’s foster parents never dared tell her “no” for fear of the emotionally volatile crime-fighter accidentally killing them! Indeed, despite much of this eight-pager demonstrating just how deadly Atomik Bombshell’s powers can be, especially when facing three highly impotent members of the eco-terrorist group Cilantro, the real story is how difficult the likes of Lynx finds it working alongside someone who can generate, manipulate and absorb deadly radioactive energy without a moment's thought.

Much more stately and majestic is Eric N. Bennett’s “Tales Of Otherworld”, which proves to be a predominantly dialogue-driven visit to the High Court of the Gods of Avalorr. Full of all the ritualistic pomp and ceremony a reader might expect from such a medieval-flavoured gathering, this particular yarn ends on a cracking cliff-hanger as King Nuada Silverhand’s guards are suddenly assailed by an army of flaming Fire Trolls just as the royal household’s formalities are finishing; “To Arms! Avalorr is under siege! Aenyr has returned -- And the walls of the city burn!”

Surprisingly serious for a storyline pencilled by cartoonist Joshua 1:9 Holley, “Adoption” does a good job of mixing up the tongue-in-cheek antics of Pollita and Kid Terror as they struggle to behave whilst on Agent Squires’ watch, with the judiciary drama of Vencejo attempting “to adopt an eight-year-old girl who isn’t a relative.” Well-penned by Offenberger, this light-hearted look at a serious subject matter also shows just how deviously demanding and disconcertingly manipulative the FBI Director, Peter Jameson can actually be too.

Lastly this book contains a good old-fashioned punch-up involving Taranis and the Norse God of War, Tyr. Unlocked as a mini-comic bonus during the publication's successful Kickstarter in February 2024, this no-nonsense adventure is written/drawn by Lee Gaston, and initially pits the two deities against one another, before pairing them together when a giant-sized Jötunn decides to invade Midgard. Filled full of jaw-wrenching fists straight to the head, and an impressive team effort against a colossal-sized foe, most bibliophiles will surely enjoy just sitting back so as to let this formidable bout of fisticuffs take them on an entertaining ride.

The regular cover art to "G-MEN UNITED" #4 by Ron Williams

Midnight Suns: Blood Hunt #1 - Marvel Comics

MIDNIGHT SONS: BLOOD HUNT No. 1, July 2024

It is difficult to imagine that many fans of action and terror were truly satisfied with Bryan Hill’s narrative for Issue One of “Midnight Sons: Blood Hunt”, no matter how hopeful the American Author was during this mini-series’ pre-publication launch interview in February 2024. True, the thirty-page periodical definitely contains some high-octane action sequences, alongside a disconcertingly dark journey into a haunted cave in El Fasha, Iraq. But considering that large chunks of this comic consist of little more than conversational pieces, a lot of the storytelling’s dynamism has arguably already been negated by the time Tulip encounters a warband of vampire mercenaries in the desert.

Indeed, so much of this book appears to simply depict Tamlyn Hamato just nonchalantly talking to the likes of Danny Ketch and Johnny Blaze as part of her recruitment drive to tackle an utterly villainous Blade, rather than the tale actually explaining just how the “clairvoyant Japanese arms dealer” knows where to find the former super-team’s members, or that the Daywalker has even turned treacherously rogue. Much of this legwork was presumably obtained ‘off-screen’ and through her numerous contacts in the underworld. However, this unwillingness on the part of the writer to even summarise any of this, and instead simply signpost that Eric Brooks has been empowered by Dracula, debatably smacks of an assumption on Hill’s part that the reader has already consumed the entirety of his run as writer on the recently cancelled 2023 “Blade” series.

Such a shortfall of context also somewhat seems to permeate the Ghost Rider’s subsequent demand that Tulip help him first before the Midnight Sons will help her. Just why the Spirit of Vengeance and his predecessor need the help of a ‘mortal’, no matter how large the bazooka she carries into combat, is never explained, nor the reason behind why Blaze and Ketch needed to specifically destroy a thing from the Darkforce Dimension in the first place..? Unless they simply felt it was too dangerous a living weapon for the vampires to own..?

Ultimately, quite a bit of this comic’s palpable lethargy disappointingly also seems to stem from German Peralta’s layouts, which even when crammed full of explosions, flesh-tearing bullets and deadly sword slashes, seemingly lack the raw energy which so attracted Stan Lee to Jim Steranko’s artwork in the Sixties. Indeed, despite the Argentinian illustrator prodigiously pencilling an incredibly violent splash page showing the Ghost Rider riding straight through the aforementioned tentacled beastie from elsewhere, the picture appears to be devoid of the ‘oomph’ a bibliophile might ordinarily expect from such a sense-shattering shenanigan.

The regular cover art to "MIDNIGHT SONS: BLOOD HUNT" #1 by Ken Lashley & Juan Fernandez

Union Jack The Ripper: Blood Hunt #2 - Marvel Comics

UNION JACK THE RIPPER: BLOOD HUNT No. 2, August 2024

Whilst on the face of it Cavan Scott’s script for Issue Two of “Union Jack The Ripper: Blood Hunt” simply consists of the “New York Times bestselling comic writer” demanding artist Kev Walker pencil more and more gore with each passing panel, there’s actually a lot of intriguing interpersonal relationships taking place inside Joseph Chapman’s compromised secret head-quarters. In fact, one of the most enthralling elements of this book comes with the revelation that a master vampire mysteriously known as The Hunger, is actually able to telepathically contact those infected with his undead curse – even one such as Bulldog, who the titular character is desperately trying to find a way to save.

Similarly as well-penned though is arguably the Bristol-born author’s use of poor Edward, who was so tragically chomped to death in this mini-series’ previous instalment. Now undeniably one of the Nosferatu, the fearsomely fanged amateur actor adds tons of flair to this publication’s twenty-page long proceedings, courtesy of some well hammed-up Shakespearean quotes and repartee. Indeed, in some ways it is actually a pity the grotesque ghoul is ultimately torn asunder by Joey’s grisly team-mate, as the blood-drinking brood leader had all the hallmarks of a truly memorable long-term nemesis.

Delightfully, Scott isn’t shy on giving plenty of this comic’s supporting cast some welcome spotlight either, with Alan bravely battling to his last breath so as to buy young Judy some valuable time to get to safety. So noble a sacrifice is genuinely quite moving, and additionally provides the aforementioned Edward with the opportunity to double-down as the ‘villain of the hour’ when he nonchalantly stomps the already dying hero to death; “’Fraid you don’t get any choice in the matter, Matey-Jim.”

Enthusiastically immersing the audience in all this gratuitous, physical mutilation, are Walker’s layouts, which alongside Craig Yeung’s inks and Java Tartaglia’s colours, completely bombard each and every bibliophile’s senses from all angles. True, some of the action sequences, such as Bulldog literally having his eyes gouged out, might be a bit too much for the faint-hearted. But there can be no doubting the lightning fast speed which the vampires can move at, or the deadliness of a well-swung sword blade as it eviscerates any torso foolish enough to get in its way.

 The regular cover art to "UNION JACK THE RIPPER: BLOOD HUNT" #2 by Rod Reis

Captain Savage #11 - Marvel Comics

CAPTAIN SAVAGE No. 11, February 1968

Considering that this title was actually “a spin-off of the series Sgt. Fury And His Howling Commandos”, it was probably somewhat brave of Gary Friedrich to pen a storyline concerning both military units working together against the Imperial Japanese Army so early on in the comic’s run. Indeed, considering that the book’s “Sound Off To Savage” Letters Page even contains a reader’s complaint that the Raiders are far too like Dum Dum Duggan’s comrades-in-arms, “Death Of A Leatherneck” could easily have come across as a bemusing mass of numerous, similar-sounding soldiers, with many a bibliophile soon becoming confused as to just what regiment each combatant originates from; “So all I can say is that I hope you meatheads remember what you’ve been told!”

Happily however, Nick Fury’s men predominantly take a back seat for this particular twenty-page periodical, allowing the audience to follow Captain Savage’s seemingly suicidal mission to fight his way past torpedo boats, heavily-armed enemy machine-gun posts and a plethora of partially-hidden infantrymen in order to reach “a castle on a Japanese stronghold island.” These action sequences are arguably a ton of fun, if not rather far-fetched, and allow the co-creator of Ghost Rider to provide many of the cast with some unique, if not a little stereotypical, personality.

Furthermore, there can be no disputing the impact of a narrative which ultimately kills off one of the central protagonists, especially when it is done just as the nail-biting battle appears to have died down. True, the fact that one of the Leathernecks is going to meet their end is telegraphed straight from this publication’s cover illustration. But the question as to just who will die is never divulged until the very panel in which it occurs, and even then there is a clever misdirection just beforehand.

Delivering plenty of ‘bang for your buck’ is legendary artist Dick Ayers, whose ability to imbue every square-jawed squaddie with a modicum of nervous anxiety as to their ongoing predicament, adds a genuine sense of peril to the proceedings. There can surely be absolutely no doubt to any onlooker that many a death-dealing bullet is zinging its way towards the heroes, and even reaches the point where an occasional panel probably had more than the well-pencilled figures in this book inadvertently ducking for cover.

Scripter: Gary Friedrich, Penciller: Dick Ayers, and Inker: Syd Shores

Sgt. Flag #3 - G-Man Comics

SGT. FLAG No. 3, October 2023

For those comic book fans who want to simply enjoy a titular character essentially going on a twenty-page killing spree then Rik Offenberger’s narrative for Issue Three of “Sgt. Flag” should definitely fit their bill, courtesy of Rob McFarlane’s solo suicide mission aboard an alien spacecraft. True, this publication doesn’t resultantly contain too much in character development for the “one-man extraction team”. But it does rather delightfully depict a super-hero who for once actually “enjoys the violence as much as the reader does”, and quite novelly relishes the challenge of facing almost certain death too.

Furthermore, in between the high octane action sequences and increasing extra-terrestrial body count, this periodical does quite surprisingly still manage to show some deeper insights into its secondary cast – most notably Christopher Squires, who genuinely appears to care for the smart-mouthed gunslinger so much that he actually attempts to persuade Flag into refusing Simon N. Kirby’s assignment. Indeed, considering just how loyal the F.B.I. operative has been to the G-Men’s leader in past storylines, his sudden willingness to rebel against his boss' wishes produces a genuinely shocking moment.

Of course, all eyes will predominantly focus upon McFarlane’s desperate attempt to reach both the space invader’s hangar and engine room, before facing the disconcertingly mysterious Alien Singularity who kidnapped Atomik Bombshell. This series of head-long “Bonsai!” battles does not disappoint, with the protagonist impressively utilising all manner of man-made firearms and witty wisecracks, as well as the little yellow spacemen’s own advanced weaponry, against his would-be assailants; “More bugs! And it’s not even my birthday!”

Ultimately, such an intense rodeo of a ride in a comic debatably lives or dies on the quality of its artwork, and Gilbert Monsanto's dynamic drawings do not disappoint. There’s a palpable energy to the freelancer’s pencilling which really adds to such instances as Sgt. Flag’s less than subtle infiltration of the UFO, the visible concern Agent Squires has for his comrade-in-arms, and even the draining physical cost to Mummy Girl’s utterly exhausting teleportation tricks. In fact, the illustrator’s double-splash of Rob gunning, kicking and crushing his abundant foes simultaneously is well worth the cover price of this book alone.

Written by: Rik Offenberger, Art by: Gilbert Monsanto, and Letters by: Mike W. Belcher

Amazing Spider-Man: Blood Hunt #2 - Marvel Comics

AMAZING SPIDER-MAN: BLOOD HUNT No. 2, August 2024

Considering that Justina Ireland’s handling of Theocritus and his decidedly dodgy dealings running Hemoglobin Incorporated are arguably far more entertaining than Spider-Man’s seemingly endless excursion through the vampire-filled streets of New York City, it’s probably safe to assume that Issue Two of “Amazing Spider-Man: Blood Hunt” didn’t land quite so well on the spinner-rack as perhaps its publisher had hoped. Indeed, so much of this mini-series’ rather intriguing exposition occurs within the walls of T.J.’s experimental laboratories that many a bibliophile doubtless found themselves a little frustrated whenever the spotlight shifts upon the titular character instead.

Much of this irritation is debatably due to Peter Parker’s somewhat tedious, self-indulgent doubts as to whether he should even be hurting the fanged-fiends stalking his not-so-friendly neighbourhood. The super-hero readily acknowledges that the massive undead horde will “hurt more people” the longer their battle goes on for. Yet still somehow manages to persuade the much less idealistic mercenary Misty Knight that the “ravenous throng” of killers shouldn’t be harmed; “I’ve been thinking about what you said… especially since I know these were innocent people.”

Furthermore, the action is suddenly brought to a surprising full-stop by its “New York Times Bestselling author” unconvincingly introducing the audience to Beyond Corporation’s former Chief Executive Officer - Maxine Danger. True, the capable young businesswoman’s presence is crucial to give Spider-Man a means of ‘defeating’ Theocritus, courtesy of a convenient computer virus which should “erase all of the networked data” and halt the vampiric company's chemical-based shenanigans. But considering just how deadly the Big Apple is supposed to currently be due to its undead invasion, it’s a little difficult to believe a non-powered entrepreneur, no matter how rich or influential, is able to successfully drive around the densely populated metropolis with just two bodyguards for protection.

Slightly more successful than its writing, is this comic’s artwork by Marcelo Ferreira and Chris Campana. This twenty-page periodical’s pencilling is very good at depicting the athletic prowess of Web-head as he somersaults around Central Park gluing down as many Nosferatu as his unblessed web fluid will allow. However, the attention to detail on the Lizard, especially the villain’s snout when sketched from any distance, is rather indistinct and lacking – leading to Doctor Curt Connor’s alter-ego actually seeming to be unfinished in some panels.

Writer: Justina Ireland, and Pencilers: Marcelo Ferreira & Chris Campana