The Unexpected #6 - DC Comics

THE UNEXPECTED No. 6, January 2019

Arguably providing an intriguing insight as to just what fuels Onimar Synn’s demonic body, rather than "DC Comics" publicised “showdown at Castle Frankenstein with the souls of Berlin on the line”, Steve Orlando’s storyline for Issue Six of “The Unexpected” probably pleased the majority of its rapidly diminishing 8,462 strong audience in November 2018. In fact, the opening half of this twenty-page periodical makes for a pretty enthralling experience as Colin Nomi seemingly defies all the odds by allowing himself to be swallowed whole by the ancient Thanagarian devil in order to successfully rescue Firebrand’s soul from an eternity incarcerated inside an Nth Metal prison.

Admittedly, the idea of Neon the Unknown somehow surviving the self-same journey “within the Bones of Onimar Synn” which has cost the lives of so many other entities across the centuries is a little difficult to believe, especially when its soon becomes clear that the realm into which the “infamous Burnside artist” finds himself can only be accessed “through the void in Synn’s hand.” But the sincerity in the blind atheist’s involuntary action to follow Janet Fals straight ‘down the rabbit hole’ provides this comic with a nice, touching moment as to just how important the former paramedic’s friendship has become to the matter manipulator; “Say you’ll fight your way back out with me. I acted on instinct following you…”

Unfortunately however, once Nomi and Firebrand literally tear themselves free from inside Onimar’s horrifically mutilated torso, the same praise can’t debatably be bestowed upon the rest of this book’s plot, with the heroes’ sudden arrival on “the Homeworld of Frankenstein’s teachers” seemingly ending on a ‘to be continued’ cliff-hanger with a little over a third of the publication left to peruse. This splash page shocker depicting “the most important tombstone in the DC Multiverse” is definitely impactive, yet somewhat smacks of this comic’s pacing being badly at odds with its page count, particularly when the self-same scene is oddly recapped just a dozen panels later as if the first illustration was originally intended to end the magazine..?

Disappointingly adding to this book’s aura of inconsistency are Ronan Cliquet’s layouts. Initially doing an excellent job of injecting the sense-shattering shenanigans of Colin’s captivating quest inside Synn’s body with plenty of dynamic drama and tension, the Brazilan artist’s prodigious pencilling takes a noticeable downward decline in quality for a short while after the aforementioned grave marker, almost as if he was suddenly required to add the Bad Samaritan’s resurrection at the last minute as a filler…

Storytellers: Ronan Cliquet & Steve Orlando, and Colors: Jeromy Cox

The Unexpected #5 - DC Comics

THE UNEXPECTED No. 5, December 2018

Packed full of more Nth Metal Isotope related gobbledygook than even this title’s loyal 13,825 readers could perhaps handle, Steve Orlando’s script to Issue Five of “The Unexpected” still probably provided them with an exhilarating insight into the bowels of Castle Frankenstein in the Bavarian Alps. Indeed, despite the twenty page periodical’s plot throwing revelation after revelation at its audience as to the mysterious origin of Onimar Synn’s highly sought after prize, “Mad Science” still proves to be an interesting instalment to the Tor Books Best Comics Award-winner’s lengthy “Call Of The Unknown” storyline.

For starters, the sudden introduction of Hawkman to this comic’s proceedings definitely helps give Colin Nomi someone reasonably rational to talk things over with, at least once Carter Hall has had his double vision of the Dark Multiverse and “Mandrakk on the Night Wind” shocked out of him through Neon the Unknown’s transformation of the winged adventurer’s “white-hot grief” into hope. This duo’s dialogue is admittedly rather wordy and at times, arguably a little incomprehensible, yet it also delivers some tantalising insights into the interior workings of Doctor Victor Frankenstein’s laboratory, as well as an intriguing history between the Birdman and the ancient Thanagarian demon pursuing The Unexpected team.

In addition, Orlando’s inclusion of the former Justice Leaguer permits the infuriatingly dislikeable Firebrand to (once again) brutally batter an obvious ally into the ground with a flurry of punches, and resultantly imbue this book with a rather enjoyable, all-out action sequence. Completely overcome by her Conflict Engine, this exchange of blows certainly should get any bibliophile’s pulse pounding. But it is hard to take Janet Fals seriously when she unconvincingly keeps telling Hall to calm down as she needs his help, whilst simultaneously repeatedly smashing him in the face; “You can either calm down --! Or I can put you down!”

Pencilling plenty of pace into a decidedly discussion-heavy narrative are Ronan Cliquet’s excellent-looking illustrations. The Brazilian artist imbues Castle Frankenstein with plenty of atmosphere with its odd mix of dust, cobwebs and advanced technology, whilst also adding a copious amount of emotional edge to Hawkman’s impassioned speech when he realises that Nomi is wrong and that the Nth Metal Isotope isn’t “from within the Multiverse.”

Storytellers: Ronan Cliquet & Steve Orlando, and Colors: Jeromy Cox 

Avengers [2018] #10 - Marvel Comics

AVENGERS No. 10, January 2019

Publicised as a “heroic 700th issue”, and shifting enough copies to make it the ninth best-selling book in November 2018, Jason Aaron’s narrative for “The Battle For The Right To Be Called… Earth’s Mightiest” certainly shouldn’t have caused much disappointment for its 77,715 readers. For whilst the oversized, thirty-two page periodical debatably plods along somewhat at the beginning as the Soviet Super-Soldiers are reformed under the leadership of Dmitri Bukharin - the newly appointed Minister of Superhuman Defence, and Steve Rogers makes it crystal clear to an agitated General Ross that “the Avengers don’t work for any [one] country”, its plot soon throws together a truly breath-taking roster of the Marvel Universe’s most formidable heroes and villains.

Indeed, it’s hard to imagine a more crowded confrontation this side of “Secret Wars” or “Civil War” than that depicted at the international undersea biosphere known as Hydropolis, as King Namor’s Defenders Of The Deep, the Avengers and the new Winter Guard all cataclysmically collide with one another over the future sovereignty of the planet’s oceans. Admittedly, some of the Sub-Mariner’s troupe, such as the Piranhas, King Crab and Manowar, aren’t widely regarded as some the Marvel Universe’s biggest hitters. But a battle which incorporates at least three deities, the Avenging Son, Captain Marvel, Iron Man, She-Hulk and Captain America should not be treated lightly.

In addition, almost all of this impressive cast are given a moment to shine within the Alabama-born writer's script, whether it be Perun and Chernobog’s fragile alliance swiftly breaking down over which is to strike Namor's final blow, the increasingly intriguing Red Widow monitoring her team-mates’ performance so as to recommend any terminations, or Ghost Rider’s utter astonishment at facing zombie sharks. Perhaps unsurprisingly however, it is Atlantis’ monarch who receives the greatest share of the spotlight, with Aaron penning the underwater hybrid as a complete homicidal maniac who openly threatens to kill Black Panther in front of the biosphere’s scientists, and even momentarily looks set to lethally attack his old World War Two comrade, Captain America; “I’m right here. Come kill me. Old friend.”

Adding tonnes of tension to these sense-shattering shenanigans are David Marquez and Ed McGuiness’ layouts. The London-born illustrator pencils some wonderfully impactive panels reintroducing this book’s audience to the likes of an ever-eager Major Mikhail Ursus and the fatalistic former KGB operative Bukharin. Whilst the famed “Superman” illustrator takes on the lion’s share of the work, piecing together an incredibly fast-paced patchwork of punches, kicks, shield throws and explosions, the majority of which occur with the combatants waist-deep in water.

Writer: Jason Aaron, Artists: David Marquez & Ed McGuiness, and Letterer: VC's Cory Petit

Dark Agnes #1 - Marvel Comics

DARK AGNES No. 1, April 2020

For those of this comic’s 23,631 strong audience somewhat disconcerted by Becky Cloonan’s pre-publication admission that she wasn’t “ashamed to say I’d never heard of Dark Agnes before Mark Basso, my editor at Marvel sent me an email asking if I’d like to write this miniseries”, this title’s opening instalment probably provided them with some reassurance that the Pisa-born writer was still going to do Robert E. Howard’s “Sword Woman” justice. Indeed, starting with a public execution which is packed with both humour and tension, the American author’s narrative for Issue One of “Dark Agnes” definitely contains its fair share of giggles and swashbuckling swordplay, most notably when the heroine successfully undertakes a bold mission to rescue Etienne Villiers from the executioner’s axe.

Admittedly, the more uncharitable critic could suggest that the pacing for this twenty-page periodical momentarily dips once the pair have ridden out of Chinon to freedom and sought sustenance in the Pewter Pot public house. But to be fair it isn’t long before Agnes has thrown her dagger into some miscreant’s doublet when the braggart foolishly suggests he should claim the five hundred francs the Duke D’Alencon has placed upon the woman’s head, and then later falls into a distinctly disturbing, drunken nightmare, packed full of anthropomorphic animals; “Ungrateful Wench! Your new husband will tame you, I warrant. He will not humour you as I have, daughter.”

Enjoyably, even this bizarre sequence populated by slavering wolfmen, talking pigs, drowning sheep and anxious-looking poultry doesn’t bring Cloonan’s startling shenanigans to an end, with the book still containing enough space for the “Mistress Of Death” to save a holy sister from the foul intentions of a drunken lout. Utterly merciless in dispatching her fallen foe with a thrust of her sword, despite the man being completely unarmed, this short-lived scene is extremely impactive, and sets up the titular character as a no-nonsense killer when her blood is up.

Adding some additional tongue-in-cheek levity to the pulse-pounding proceedings is Luca Pizzari’s pencilling, who proficiently portrays the book’s proceedings with plenty of gusto and pace. In fact, this publication's layouts are so jolly-looking that it’s easy to see why Becky gave “big props” to both the Italian artist and colorist Jay David Ramos in her March 2020 interview with the “Comics Bulletin” website.

Writer: Becky Cloonan, Artist: Luca Pizzari, and Colorist: Jay David Ramois

The Immortal Hulk #33 - Marvel Comics

IMMORTAL HULK No. 33, May 2020

Plagued by a narrative which arguably closer resembles a homemade patchwork quilt than a smooth-flowing piece of storytelling, Al Ewing’s choppy script to Issue Thirty Three of “Immortal Hulk” must have struck many of its 68,765 readers as something of mess, what with its utterly bizarre visit to the inner workings of Bruce Banner’s mind and frustratingly rushed conclusion concerning the Green Goliath’s long-running battle against the Minotaur. Indeed, the disappointment this forty-page periodical’s audience presumably felt when it becomes evident that the highly-anticipated physical fight-fest between the super-strong beastman and this comic’s titular character wouldn’t actually occur, must have had a fair few infuriated bibliophiles striking this book off of their Pull List in dismay. 

Of course, that isn’t to say that “The Thoughtful Man” doesn’t contain plenty to entertain and enthral, as even Nick Pitarra’s comically sketched mindscape sequences have their highpoints, such as Joe Fixit looking remarkably similar in appearance to “Marvel Comics” legendary writer/editor Stan Lee way back in the Seventies. But despite the publication’s formidable length, everything still feels hurried, especially when it comes to the Hulk’s impulsive assault upon the Roxxon Plaza, and Dario Agger’s grisly ‘demise’ in the belly of the very extra-terrestrial beast he had thought would help him win the day; “Our deal was satisfactory, Mr. Agger. But not satisfactory enough… You know how the sausage is made…”

Fortunately, this final third of the double-sized comic unquestionably gets things back on track with a healthy dollop of pulse-pounding pugilism and the revelation that Xemnu’s hunger was noticeably greater than the Energy Corporation's CEO ever credited him with. In fact, the sudden appearance of the alien’s converted minions, which look truly horrific as a result of his transfiguration process, is perhaps the apogee of this tome, and in many ways it’s a great pity Ewing didn’t further explore the would-be world conqueror’s treachery across a few more instalments, rather than have the cybernetically-enhanced stooges simply battered off the book within a few double-splash pages.

Equally as appealing as this eye-wateringly gruesome conclusion’s sense-shattering shenanigans, are Joe Bennett’s layouts, which genuinely show the Brazilian artist at his most macabre. Whether it be a gigantic, three-headed Hulk tearing the entrails out of Luke Cage and cutting Doc Samson in half with Captain America’s shield, Bruce Banner literally being ripped asunder from the inside out by his ferocious alter-ego, or the Minotaur’s utter horror when he realises he’s been outfoxed by his ally and is about to be diced to death inside the white-furred monster’s stomach, this comic’s numerous panels are crammed full of imagery that will cause adolescents to have nightmares for months.

The regular cover art of "IMMORTAL HULK" No. 33 by Alex Ross

Judge Dredd Vs. Aliens: Incubus #4 - Dark Horse Comics

JUDGE DREDD VS. ALIENS: INCUBUS No. 4, June 2003

Firmly focusing upon the exploits of a seemingly ‘destined to die’ Joe Dredd, John Wagner and Andy Diggle’s script for Issue Four of “Judge Dredd Verses Aliens: Incubus” certainly provided its audience with ample evidence as to just why the senior street judge is Mega-City One’s toughest lawman. In fact, considering that Fargo’s clone has already been ‘fatally’ impregnated by a Facehugger before this particular publication even starts, it is difficult to imagine a more grimly determined incarnation of the Apocalypse War veteran than that presented to this comic book’s audience in 2003.

Fortunately however, unlike the much more emotional Judge Sanchez, whose hysteria at having an embryo embedded inside her body almost unhinges her mind, Dredd seems to take a sort of stoic comfort in the fact that he can still serve his city one last time by ridding the metropolis of the extra-terrestrial threat, as well as the presence of the nefarious Mister Bones too. This fatalistic philosophy makes Pat Mill’s co-creation arguably deadlier than ever, as he engineers a truly horrific, albeit fitting, death for the leader of the anti-Judge activists and mutants who have killed so many of his fellow law officers; “M-My pheromone tag! He’s crushed it --! B-Back! G-Get back! Please -- You m-must recognise me! It’s me -- D-Daddy-!”

Unsurprisingly, this twenty-four page periodical’s creative team also can’t resist setting up a somewhat ‘Ripley-like’ confrontation between Dredd and the alien hive’s queen. Packed full of pulse-pounding tension as the dying Judge declares his intention to gun the egg-laying monstrosity down where she stands, many of this comic’s readers were probably as slacked jawed as Sanchez is portrayed as being at the thought of just a couple of lawgivers taking down an entire Xenomorph XX121 nest. But the lawman’s desperate attempt to crush the aliens’ ruler beneath an unstable cement ceiling, whilst simultaneously trying to escape via an old subway station’s exit “sealed off with resin”, makes for a sense-shattering action sequence.

Similarly as successful is the writing duo’s ‘spotlight’ upon the guilt-laden Packer and her inner demons at having underestimated the deadliness of her pest control team’s current prey. Resolute to neutralise the “alien frenzy” once and for all under an unrelenting torrent of boiling lava, Dredd and Sanchez seemed determined to ‘die like a judge’ until the Verminator’s leader makes a highly memorable self-sacrifice using her jet-pack's fuel supply as a ready-made explosive, and engulfs the entire old Grand Central Station, and then some, with flesh-sizzling magma.

Writers: John Wagner & Andy Diggle, Art: Henry Flint, and Colors: Chris Blythe

Red Knight #1 - Manos Publishing

RED KNIGHT No. 1, September 2019

Having experienced “a few years off” before seeing this title re-launched “in full colour under the Manos Publishing banner”, fans of the knight without a sword probably rather enjoyed Justin Cristelli’s narrative for Issue One of “Red Knight”. In fact, as first forays into the dangerous world of costumed crime-fighting go, Todd McClain’s inaugural mission as a vigilante determined to bust Brick’s drug dealing racket arguably has it all, whether it be super-powered villains demonstrating a multitude of surprising special abilities, undercover narcotics agents watching their clandestine mission come to naught or pure chaos occurring on the streets as public lives are jeopardised by well-meaning, masked vigilantes.

In addition, the Virginia-born writer also manages to imbue this twenty-five page periodical’s plot with a genuinely palpable sense of tension too, as the titular character, Fireball and Nonstop nervously contemplate interfering with the illegal sale of “two vials of something that’s supposed to grant people super powers”, and then react in horror as their plan of attack almost instantly falls apart upon their arrival. Interestingly however, this edginess is not just confined to the three lead protagonists either, with the American author enthrallingly bestowing an equal amount of apprehension upon both Brick’s party and their well-dressed customers; “Be cool. Be cool. If we come off nervous, then they’re gonna think we’re amateurs.”

Such high levels of anxiety amongst the comic’s cast makes it seem that something unexpectedly calamitous could happen at any given moment, and provides the book’s proceedings with an enjoyable air of excitement, especially when Red Knight realises his rookie roster are facing three formidably potent criminals, a bucketful of angry law enforcement operatives, and a ton of heavily-armed henchmen. “Oh. Double poopie” indeed…

Providing all this pulse-pounding action with some extra pizazz is JC Grande, whose layouts add a further layer of animated anarchy to an undercover police sting which goes about as wrong as it can. The El Salvadoran artist is particularly good at panelling fast-paced sequences, such as Popgirl blasting Tyrone/Michael mid-way through his denial at being a "cop", or Brick’s stunning transformation into a literal walking wall of bullet-proof ferocity, and it soon becomes abundantly clear just why Cristelli is happy to leave portions of this book’s storytelling to the illustrator's textless panels populated with fast-moving eye candy.

Writer: Justin Cristelli, Artist: JC Grande, and Colorist: Forrester Randlet