Missing On The Moon #2 - Mad Cave Studios

MISSING ON THE MOON No. 2, February 2025

Whilst Cory Crater’s narrative for Issue Two of “Missing On The Moon” quite surprisingly lacks much in the way of adrenaline-fuelled action, at least up until the American authorities descend upon the Soviet ice mines armed-to-the-teeth with assault rifles and bulky combat droids, it still somehow manages to race along at an exhilarating rate. In fact, many within this mini-series’ audience will be somewhat stunned as to just how quickly they come to this comic’s shell-shocking cliff-hanger; “But curiosity… It’s part of the trade. A box, once opened…may well be shut… but the contents therein cannot be unseen.”

Much of this twenty-two page magazine’s momentum is created by some seriously tense set-pieces, with Daniel Schwinn’s terrifying interrogation at the hands of the Darksiders’ leader revealing just how vulnerable the central character actually is on the oxygen-starved satellite. This particular scene also provides an excellent insight into all the built-up prejudices of the private investigator, as well as hints that he’s actually being used by the powers that be to protect a disconcertingly dark secret of theirs.

Likewise, this book does a great job in showing just how corrupt the American dream has clearly become on the moon, and that the portly, pony-tailed Oz is almost certainly up to his neck in it. The senior law enforcement officer clearly has great affection for his old friend, and genuinely appears eager to keep Schwinn safe. But once he realises that the detective has heard of Operation White Eye, there’s a distinct coldness in his cybernetic eye which suggests he knows far more about the lunar metropolis’ city-wide string of disappearing children than even Daniel can possibly imagine.

Considering just how much of this comic’s content is driven by packed word balloons and dialogue-heavy discussions, a lot of thanks for it’s pulse-pounding pace must also be given to Damian Couceiro’s layouts, which somehow manage to make all the talk flow at a tenacious tempo. Of particular note has to be the aforementioned clash between Sidhe and her dishevelled prisoner as she mercilessly injects his neck with a syringe of blue-coloured goop. However, the illustrator is also very good at showing the contrast between Buzztown’s absolutely bristling Lunar Defence Services building before Oz is informed of the Darksiders’ secret whereabouts, as well as its eerily empty offices once he does know and departs with his staff to bring the 'rebellion' to a bloody end.

Writer: Cory Crater, Artist: Damian Couceiro, and Color Artist: Patricio Delpeche

The Batman And Scooby-Doo Mysteries [2024] #12 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 12, February 2025

Despite pretty much telegraphing just who is behind the haunting of Gotham City Opera House within its first few pages, as well as quickly establishing that the villain-of-the-piece isn’t really Andrea Beaumont’s much-hyped alter-ego after all, Joseph Torres’ script for Issue Twelve of “The Batman And Scooby-Doo Mysteries” does still contain a pretty good yarn which rather nicely captures much of the flavour of Hanna-Barbera Productions’ animated cartoon stories. In fact, this comic’s twenty-page plot arguably contains all the elements necessary to have made it a memorable televised episode – should its storyline have been submitted to the American production company during the early Seventies.

For openers, the book ensures that all of its fairly large-sized cast contributes to its narrative without resorting to unconvincing contrivances or lacklustre silliness. True, Shaggy Rogers and Scooby-Doo (once again) become the focus of fun when they hungrily scour the building’s concessions stand for popcorn and inadvertently stumble across the fake Phantasm’s hiding place. But this endearingly whimsical set-piece is entirely in keeping with the characters’ usual buffoonery, and actually sets up an intriguing conundrum as to which members of Mystery Incorporated are actually confronting the ‘real’ ghost.

Likewise, there’s some good banter to be had between the Dark Knight and Velma Dinkley, as the pair partner up to ascertain just how the Caped Crusader simply swung straight through their grey-hued foe whilst the villain was stood on the main stage. Of particular note is the sheer joy expressed by the sweater-wearing sceptic as Batman propels them both up to an overhead catwalk using his grapple gun, and the “brains of the group” politely asking the super-hero for permission to proudly proclaim her theory as to who “the person behind the mask” is. 

By far this publication’s biggest strength though arguably lies in the crisp layouts of Dario Brizuela, whose pencilling absolutely nails the likenesses of both the Caped Crusader and Fred Jones’ teenage gang of amateur sleuths. Perfectly coloured by Franco Riesco, the almost suffocating shadows cast by the theatre’s ghost light also add to this yarn’s claustrophobic atmosphere, and helps add an extra element of conviction to the protagonists' surprise whenever they spy the Phantasm lurking in the dimly-lit darkness.

Written by: J. Torres, Drawn by: Dario Brizuela, and Colored by: Franco Riesco

Missing On The Moon #1 - Mad Cave Studios

MISSING ON THE MOON No. 1, December 2024

Rather intriguingly feeling like a much more low-tech version of Ridley Scott’s dystopian future as seen in his 1982 science fiction movie “Blade Runner”, Cory Crater’s superb penmanship should certainly have held his audience’s attention throughout this twenty-one page periodical’s thought-provoking plot. Indeed, straight from the comic’s start it seems pretty clear that “washed-up private investigator Daniel Schwinn” is entering a serious world of pain when he accepts the task of discovering just what has happened to a billionaire’s missing daughter.

Furthermore, the well-paced storyline is also quite quick in establishing that anyone around the expletive-happy sleuth is also stepping straight into some cold-blooded killer’s firing line, and not even a huge, ruggedly constructed moon truck is large enough to protect its evidently prying occupants from almost being sent straight into orbit by a well-paced improvised explosive device; “Turns out these weren’t highwaymen. They were saboteurs. Professionals, politically motivated.” This palpable sense of danger genuinely adds to an already gripping atmosphere, and should cause many a bibliophile to hungrily ‘gobble up’ this publication’s series of thrilling set-pieces in their eagerness to establish just who is next on the Darksiders’ hit list.

Similarly as successful as Luna’s savagely barbaric community, has to be the screenwriter’s thought-provoking insights into the central protagonist himself. Schwinn is seemingly no pure-hearted angel. But a man perfectly capable of poisoning a drug addict with a score which has been “cut with rodenticide”, and apparently has little interest in rescuing poor Penny until the powers that be agree to pay him “double my ordinary rate”. These all-too evident flaws hint at a truly troubling past for the grubby-looking investigator, and strongly suggest whatever morals Daniel may have once had, cost him more than he can bear.

Lastly, illustrator Damian Couceiro, along with color artist Patricio Delpeche, prodigiously provide this comic with some strikingly sound visuals. Of particular note has to be the creative pair’s handling of Holloway’s last trip outside to the place where the moonraker “found the ballet flat.” This excursion onto the satellite's surface is actually incredibly word-heavy, thanks to the gumshoe’s repeated questioning of the circumstances surrounding the bizarre find. Yet, the various angles used to depict the conversation makes the discussion bound along at a healthy pace, before events turn particularly sour with a mighty explosion.

Writer: Cory Crater, Artist: Damian Couceiro, and Color Artist: Patricio Delpeche

Teenage Mutant Ninja Turtles [2024] #4 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 4, November 2024

Described by some as “the most rational and logical of the turtles”, Jason Aaron’s version of Donatello in “Grit And A Stick” must surely have disturbed many a Shellhead when it first hit the spinner racks in November 2024. For whilst the teenage mutant ninja is still undeniably willing to put others less fortunate than himself first and foremost, the tech-savvy warrior’s mind has clearly been badly broken by the death of his (adoptive) father Splinter. Indeed, much of this twenty-two page periodical’s plot is about Donnie’s descent into madness, as he battles both physical adversaries, as well as the demons of his past.

Just as enthralling as the humanoid reptile’s determination to stay (slightly) sane though, has to be this comic’s central premise, which sees Kevin Eastman’s utterly exhausted co-creation “trapped in a mutant zoo and forced to fight rich men looking for a thrill.” This perilous predicament could so easily have degenerated into a potentially monotonous, all-action slugfest if penned by a lesser writer. But in the hands of its Alabama-born author, the main protagonist is repeatedly shown to be using his wits to defeat his foes, rather than just battering them into submission with his fists and feet; “For months, I’ve been watching and listening, trying to crack the codes to the cells, the electrified fence, the main gate.”

Likewise, the Harvey Award-winner should have subverted the expectations of many a bibliophile with this book’s finale, courtesy of Donatello’s meticulous escape preparations all being thrown out the window by a sudden, shock attack upon the illegal premises by the Foot Clan. This adrenalin-fuelled assault really ups the ante for the turtle and his fellow animal-based inmates. Yet also seemingly causes the warrior’s psyche to finally snap, as he comes away from the melee tragically believing that a dead rat brained by a throwing star is actually Splinter reincarnated.

Also awesomely adding to this publication’s sense-shattering success has to Chris Burnham’s brilliant pencilling, which genuinely manages to impart just how tired and worn out poor Donnie is following his “last trip through time”. Emaciated and haggard, this particular ninja appears to be nearing the end of his road. However, the Connecticut-born illustrator still somehow manages to show a desire to fight injustice blazing away behind the character’s eyes - especially when he realises everyone else’s survival rests upon his bent shoulders.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #4 by Rafael Albuqerque

The Batman And Scooby-Doo Mysteries [2024] #11 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 11, January 2025

Utterly devoid of Batman – apart from one line explaining that he’s up “in space with the Justice League”, Sholly Fisch’s somewhat sedentary script for “Booked Up” rather surprisingly relies upon the tongue-in-cheek tomfoolery of Shaggy Rogers and Scooby-Doo to provide its readers with any notion of pulse-pounding action. Indeed, the American author even pens the pair supposedly running for their very lives from a harmless novel at the comic’s start – simply so something of moderate interest happens during the twenty-page periodical’s opening quarter; “Are you really still running away from a book?”

Happily however, things do become a little more interesting once Grotesque’s henchmen are (far too) easily apprehended, and Barbara Gordon is able to demonstrate a few of the computer-based skills she has honed as Oracle. Admittedly, the crime-fighter’s ability to just link into the Bat Cave’s computer with her mobile phone may well make many of her deductions a little too conveniently fast for some readers. But these quick-fire revelations as to the criminal behind Gotham City Library’s latest haunting at least provides an otherwise listless yarn with a bit of much needed pace.

Sadly though, once Batgirl’s nemesis is revealed the publication’s already apathetic plot appears to go right out of the window, with Phillipe Rianne’s obsession for “fancy things” degenerating into a need for a mystery writer’s original manuscript simply so the mask-wearing criminal mastermind has “something to read in bed tonight.” This motivation debatably dumbs down an already rather mediocre-calibre thief, and is as convincing as Gordon’s feeble attempt to fool her father into thinking she’s just a humble librarian, despite single-handedly battering her electricity-powered enemy into unconscious with a mere wooden chair.

Somewhat more substantial than this comic’s narrative are David Antón Gomis’ layouts, which at least attempt to imbue Shaggy and Scooby-Doo’s escapades with a bit of dynamism. The illustrator does a fairly good job of bringing this comic’s quite considerably-sized cast to life, especially when it comes to Jim Gordon’s steadfastness in the face of deadly danger. Yet, the artist’s rather strange decision not to pencil any motion lines in his panels, even upon the numerous members of the public racing out of the library in sheer terror, makes many a set-piece appear strangely lethargic and unrealistically languid – as if the figures were somehow running on the spot, rather than moving across the location.

Written by: Sholly Fisch, Drawn by: Puste, and Colored by: Carrie Strachan

Conan: The Barbarian Free Comic Book Day May 2025 - Titan Comics

CONAN: THE BARBARIAN FREE COMIC BOOK DAY MAY 2025

Largely ‘locked on’ to a seventeen-year-old Conan’s unsuccessful attempt to burgle Aztrias Petanius’ manor in Nemedia, there initially appears to be plenty of engrossing narrative within this ‘Free Comic Book Day’ publication to keep even the most die-hard of Robert E. Howard fans thoroughly enthralled. Indeed, despite the aspiring thief’s poor choice of prey, and the Cimmerian’s unwillingness to actually splatter anyone’s brains during his confrontation with a pair of veteran guards, this periodical’s sixteen-page plot still contains a solid mixture of suspense, action and even glib humour; “Apparently the most appropriate punishment is letting your pitiful life carry on, worm.”

Unfortunately for some readers though, once this neatly-penned precursor to the 1952 short story “The God In The Bowl” concludes, the rest of Jim Zub’s script disappointingly transforms into a choppily-paced advertisement for the Canadian author’s upcoming "epic Conan event”, and rather ungracefully attempts to tie the titular character’s earliest adventures in with those of Brule the Spear-Slayer, Professor John Kirowan and Thoth-Amon. Of course, providing just such an appetiser is precisely the point behind this particular prelude to "Titan Comics" latest four-issue mini-series. However, it’s so clunkily crowbarred onto the end of this book's central yarn that it arguably appears a little too desperate in its desire to attract pre-orders.

In addition, the Web Cartoonists’ Choice Award-winner’s apparent obsession with the Hyborian Age's most powerful Stygian sorcerer being behind practically every one of the barbarian's misfortunes may well strike any bibliophiles already familiar with the writer's backlog of numerous Conan tales as being rather unimaginative – especially as the duo never actually meet face-to-face in any of the original novellas. Yet here is Zub (once again) trying to not only intrinsically link the two together, but also suggest that the snake-fixated warlock is dubiously connected throughout time and space to some of the father of sword and sorcery’s other creations too.

Probably this book’s biggest asset can therefore be found inside the layouts of artist Ivan Gil, who adds both the grandeur and grimness some bibliophiles may well expect to see whilst visiting the “night-swept streets” of Nemedia’s second largest city. In fact, the illustrator’s incredible ability to pencil a pair of snarling, ill-tempered soldiers in one panel, and then sketch them fearfully back-peddling away from the black-haired, heavily-muscled rogue before them in the next, is truly breath-taking.

Writer: Jim Zub, Artist: Ivan Gil, and Color Artist: Jao Canola

Space Ghost #4 - Dynamite Entertainment

SPACE GHOST No. 4, August 2024

Many a reader may well feel that publisher “Dynamite Entertainment” were probably being overly-boastful when they announced that “danger and excitement expand like a supernova” inside this particular twenty-two page periodical. But David Pepose’s storyline for Issue Four of “Space Ghost” absolutely nails it, blending high-octane action with a seriously disconcerting twist that sees poor Jan, Jace and Blip battling for their very lives against their masked mentor’s greatest enemy; “We couldn’t stay behind -- There were hostages on Grax-3. But I swear to you… We didn’t know it was him."

Leading this palpable assault upon the audience’s senses has to the introduction of the mentally-deranged mass-murderer Zorak, whose terrifying penchant for mutilating hapless humans establishes the character as being a million miles away from the goofy-looking animated space mantis voiced by Don Messick during the late Sixties. Indeed, this modern-day incarnation of the Dokarian is enthrallingly ruthless, and completely captures all the attention whenever he makes an appearance – whether that be hacking a fallen prison warden to death with a homemade hand-scythe, or fervently leading his army of fanatical Zorathian warriors to a hollow victory over some defenceless scientists.

Just as good though, is arguably the Guardian of the Spaceways’ fisticuffs with the wonderfully envisaged Titanor. This huge, cyclopean robot makes for a truly menacing foe, who quickly establishes that he won’t be quickly beaten by the hero’s famous all-powerful energy bands. In fact, for once it momentarily looks like Space Ghost’s occasional hubris may well have got the better of the super-powered protagonist, as he is forced to quite literally dig deep so as to overcome the seemingly invincible metallic might of his opponent.

Similarly as successful as Pepose’s prodigious penmanship is also Jonathan Lau’s lavish layouts. Whether it be projecting Zorak’s sheer insanity straight off of the printed page, or showing the total desperation of his perilous predicament in the jawline of an increasingly bruised Dax, the “exclusive illustrator” does a first-class job. Furthermore, due to the downtrodden look sketched into their demeanour, many a reader will doubtless sense the sheer terror emanating from Jan and Jace as the two children inadvertently fall straight into the Harbinger of Slaughter’s death-dealing claws.

The regular cover art of "SPACE GHOST" #4 by Francesco Mattina