Fantastic Four Annual #3 - Marvel Comics

FANTASTIC FOUR ANNUAL No. 3, October 1965

Containing some stunning sense-shattering prenuptial shenanigans involving an all-encompassing cast of Marvel Universe characters, as well as complete and unabridged reprints of two of the “most requested Fantastic Four issues” since the ongoing series first hit the spinner-racks, this weighty tome surely lived up to the New York-based publisher’s boast of being “possibly the greatest annual of all time” when it was initially released upon an unsuspecting public in 1965. Indeed, considering that Stan Lee’s “Bedlam At The Baxter Building!” somehow manages to incorporate the likes of the Avengers, the X-Men, S.H.I.E.L.D., Daredevil and Spider-man alongside a truly impressive rogues gallery of the New York City-based publisher’s super-villains, it’s incredible to believe the then Editor-in-Chief was able to pen anything even resembling a coherent narrative, let alone one which not only contains plenty of ‘screen time’ for its titular characters but additionally produces numerous stand-out moments, such as the Mole Man’s surprise attack from beneath the very foundation of the Baxter Building and his minions’ subsequent defeat by Professor X’s mutant students.

Admittedly, the basic premise behind this comic’s narrative is undeniably contrived with Doctor Doom “skilfully manipulating my high-frequency emotion charger” so as to “fan the flames of hatred in the heart of every evil menace in existence” and resultantly create “a veritable army of the most deadly villains alive” with which to destroy Reed Richards’ famous quartet. Yet the utter simplicity of the ‘hokey’ plot point does allow for the reader to be rapidly immersed in the mad machinations of the “paranoiac” Puppet Master, and no sooner has his poison-armed pawn been subdued by Nick Fury’s undercover agents, than Ivan Kragoff and Harvey Rupert Elder make their separate moves to bring Su Storm’s imminent wedding ceremony to a deadly end; “Ahh! The coast is clear now, my beauties! And so, the time has come for the Red Ghost and his Super Apes to finish the job they’d begun many months ago!” This rapid succession of threats and foes is so successfully implemented that any thoughts as to the dubiously manufactured nature of the script is swiftly forgotten and replaced with a genuine sense of awe at Lee’s sheer vision, with even Attuma, “merciless warlord of the deep”, deciding to seize the moment and threaten the land-dwellers with an invasion of his trident-carrying legions.

Of course, just how enjoyable this carousel of costumed crime-fighters and malevolent Machiavellian evil-doers would be without the dynamically-charged pencilling of Jack “King” Kirby is hotly debatable. The Manhattan-born artist’s breath-taking visuals for this comic provides every punch, kick and energy blast portrayed with just the sort of bone-crunching energy one would expect from an illustrator “widely regarded as one of the medium’s major innovators.” Whilst his incredible splash-page “photo of a journey thru the Fourth Dimension” which depicts the Watcher transporting Mister Fantastic to “a laboratory whose wonders beggar description” was certainly worth the twenty five cent cover price of this book alone.

Written by: Stan Lee, Drawn by: Jack Kirby, and Inked by: Vince Colletta

The Immortal Hulk #42 - Marvel Comics

IMMORTAL HULK No. 42, March 2021

Featuring both the disbandment of Gamma Flight under the blinkered leadership of Henry Peter Gyrich, and the departure of Jackie McGee from the Arizona Herald following the newspaper’s appointment of a faceless interim editor, those readers able to navigate their way through Issue Forty-Two of “Immortal Hulk” certainly couldn’t argue that the comic doesn’t make some progress in telling Al Ewing’s ongoing narrative for Bruce Banner’s alter-ego. But the fact that the titular character doesn’t even appear within the entirety of the twenty-page periodical probably made quite a few Hulk-heads think that way just the same.

Indeed, just what the point of the British author’s sedentary script is for “A Game Of Consequences” isn’t particularly clear, unless of course the former “2000 A.D.” writer was simply desperate to pad out an entire publication with disinteresting conversational pieces in preparation for the return of the U-Foes as agents of the American government; “The Hulk is the most dangerous gamma creature to exist - - and Gamma Flight just walked out on their responsibility to catch him. But who needs them? Am I right, Doctor Utrecht?”

Admittedly, the book does still manage some moments of tension, such as when Doc Sasquatch threatens to lethally cut through one of Alpha Flight Space Station’s windows following his new commander’s threat that he’d “drain the gamma out of you” and “maybe take your pelt” to make a rug out of it, if Leonard didn’t remember the location of Shadow Base Site G pronto. But such well-penned scenes are regrettably few, and easily get lost amidst all of the dreary, dialogue-heavy deliberations which this comic’s formidably-sized cast spout on about throughout the rest of the book.

Debatably this magazine’s greatest weakness though must surely lie in editor Will Moss’ decision to utilise a quartet of different artists with which to sketch its interior layouts. All four illustrators, especially regular Joe Bennett, would seem perfectly capable to pencil a prodigious-looking panel or two. Yet because their sequences are scattered across the entire comic somewhat piecemeal, the audience is disconcertingly forced to momentarily readjust their eye for every other page.

The regular cover art of "IMMORTAL HULK" #42 by Alex Ross

Future State: Harley Quinn #1 - DC Comics

FUTURE STATE: HARLEY QUINN No. 1, March 2021

Considering that Stephanie Phillips’ “goal was to really show how smart Harley is through her ability to psychoanalyze Gotham’s masked residents”, this twenty-two page periodical’s plot certainly shows Harleen Frances Quinzel in a light immeasurably different to the way the titular character is ordinarily portrayed. True, the Cupid of Crime is still as mad as a box of frogs as she merrily smart mouths her captors, complains about the roughness upon her skin of her prison clothes, and seemingly worries more about “some nasty holes” in her socks than the fact she’s looking at spending the rest of her life idling inside a high-security penitentiary cage.

But amongst all the blue and pink-haired gymnast’s foolhardiness the American author also manages to demonstrate precisely why the trained psychiatrist was once thought highly enough by the Gotham City medical authority to have been awarded the Joker as a patient. Indeed, just as soon as Doctor Jonathan Crane agrees to remove her restraints, Quinn immediately shows that she can still provide an incredibly deep analysis of her fellow super-villains by both rationalising just how Lazlo Valentin managed to ‘Frankenstein’ several police officers and suggesting an entirely successful method of bringing Professor Pyg to justice.

Such a seldom-used insight into the Maiden of Mischief’s mind really makes for a fascinating read, and despite Harley remaining within a cell for almost the entirety of the publication, the notion of her solving Crane’s problem of incarcerating Batman’s formidable Rogues Gallery a criminal at a time is utterly enthralling. In fact, Quinn's behind-the-scenes examinations are so enjoyable that it arguably comes as something of a disappointment when the Joker’s lover is apparently released to help her gaoler finally get his hands on the sole kingpin to have alluded all his previous efforts – the Black Mask; “Let’s go, Harley. You’re getting out of here. Your ideas proved out. Pyg and Firefly are… well. We’ll call them done.

Disconcertingly however, the one thing which does debatably let down Issue One of “Future State: Harley Quinn” are Simone Di Meo’s layouts. The Turin-born artist’s ability to make his illustrations appear as if each panel has been screen-grabbed from an animated feature film cannot be disputed. Yet so many of the action-sequences within this comic are so strangely angled that it’s impossible to see what is actually taking place, most notably when Garfield Lynns is lured into a trap and overpowered.

The regular cover art of "FUTURE STATE: HARLEY QUINN #1 by Derrick Chew

A Man Among Ye #4 - Image Comics

A MAN AMONG YE No. 4, January 2021

Firmly fixated upon Anne Bonny’s daring attempt to rescue Captain Jack Rackham from his imprisonment on Fort Nassau, Stephanie Phillips’ narrative for Issue Four of “A Man Among Ye” arguably contains it all, from fast-paced swordplay and ear-shattering explosions through to shrewd scheming and villainous treachery. Indeed, apart from this twenty-page periodical’s rather frustrating conclusion, which sees the injured female pirate and her unconventional crew fleeing from the Bahamas-based fortification empty-handed, this comic book is virtually flawless, and doubtless will have many within its audience clamouring for the American author to pen some more adventures about the notorious buccaneer.

Much of this publication’s success stems from the writer steering well-clear of lazily having this mini-series’ lead protagonist just steamroller her way through Woodes Rogers’ forces, regardless of the governor’s formidable firepower, sizeable fleet and numerous soldiers. Instead, Bonny uses her brains to infiltrate the dauntingly defended stronghold, and rather cleverly latches on to the story of the Fall of Ancient Troy as told to Mary Read by a friendly sailor on the night her father was murdered by brigands; “The Trojans took the horse into their impenetrable city, only to have Greek warriors climb out of the horse once night fell.”

Similarly as successful is Phillips’ use of Jane Castor and her loyal companion Iris, who both play prominent roles throughout Anne’s delightful deception. Jonathan’s “gorgeous daughter” does a good job of fooling Rogers into believing she has somehow captured one of the most wanted pirates in the Caribbean, and debatably provides one of this comic’s highlights when she soundly socks the always-arrogant Woodes squarely on the nose. Whilst the high-born lady’s former servant plays a pivotal role in decimating the ex-English sea captain’s docked armada with a few well-placed torches and plenty of gunpowder.

Of course, this book’s greatest moment comes when an utterly astonished Bonny realises that she has risked all for a man completely unworthy of both her loyalty and love. Rackham’s decision to stand alongside the duplicitous Charles Vane and cold-bloodedly kill his former partner provides a genuine heart-stopping moment within the magazine, and the realisation that Calico Jack was entirely prepared to shoot her dead in that instant is as shocking as artist Craig Cermak dynamically pencilling Iris mortally burying her axe-head deep within Vane’s chest several moments later.

Written by: Stephanie Phillips, Art by: Craig Cermak and Colors by: John Kalisz

Strange Academy #6 - Marvel Comics

STRANGE ACADEMY No. 6, February 2021

Taking its audience by the hand down a dark and winding pathway from tongue-in-cheek magical machinations to some disturbingly lethal sorcerous shenanigans, Skottie Young’s narrative for Issue Six of “Strange Academy” definitely injects the ongoing series’ with a strong sense of deadly danger by its conclusion. In fact, by the end of the twenty-page periodical it seems certain that the somewhat carefree education of the school’s surviving students will never be taught in the same manner again; “Zelma. Did you get them stabilized enough for me to get back to the Sanctum Sanctorum and --”

Intriguingly though, this journey down the rabbit hole is so well penned by the Inkwell Award-winner that it is highly unlikely many of this comic’s readers actually noticed the plot’s ever-enclosing storm clouds of dread and doom until the publication’s final splash panel revelation. Up until this point, it still seems highly plausible that Emily Bright’s well-meaning, yet massively under-powered rescue expedition, are somehow going to survive their confrontation with the Hollow reasonably unscathed, especially considering that the heavily outnumbered adolescent apprentices are still occasionally swapping witticisms with one another.

Indeed, having managed to stave off the wooden-faced cultists with a wall of frozen icicles, an incredibly creepy horde of zombies, and vicious wall of fire, the children initially appear to have an entire arsenal of potent supernatural weapons up their young sleeves with which to defend themselves. Unfortunately however, if there is one thing Young’s storyline makes very clear, it is that the pupils have been sorely mislead as to their actual prowess in the Mystic Arts by their teachers, as one by one their visually impressive enchantments fall surprisingly flat when faced with some genuinely competent spell slingers.

To put things into even clearer perspective, the almost casual way Doctor Strange and Jericho Drumm dispatch the Hollow once they arrive ‘in the nick of time’ just goes to show how wide the chasm between Doyle Dormammu’s seemingly awesome powers are with those of the actual Sorcerer Supreme himself. Such a misleading sham to lull the students into a false sense of security concerning their abilities genuinely smacks as a major betrayal of trust by the teachers, and arguably causes as much consternation as the fact that this comic ends with the death of at least one pupil.

The regular cover art of "STRANGE ACADEMY" #6 by Humberto Ramos & Edgar Delgado

Strange Academy #5 - Marvel Comics

STRANGE ACADEMY No. 5, January 2021

Ultimately concentrating upon the students’ seemingly unsuccessful rescue of Calvin Morse from the mysterious Hollow cultists located in “the bayous outside New Orleans”, this twenty-page periodical’s plot probably generated a fair amount of annoyance in its audience beforehand, thanks largely to Skottie Young’s wonderful ability to pen Miss Hazel playing the innocent victim to Jericho Drumm, and Iric Brorson’s ‘holier than thou’ attitude towards some of his class-mates. Indeed, the frosty interplay between some of this comic’s considerably large cast contrasts quite wonderfully with the sudden team-bonding which subsequently takes place as the bickering children unwisely organise themselves into an ill-conceived search party.

Foremost of these ‘frustrations’ has to firmly sit with the aforementioned elderly fortune teller, who despite having purposely exposed Doyle Dormammu to some truly terrifying visions of his fiery future for her own perverted pleasure, has apparently complained to Doctor Voodoo about the consequences of her own utterly unfriendly actions. Now persistently plagued by the reoccurring prophecy herself, Miss Hazel wastes little time in lying about how she just innocently gave the Faltinian youth “a peek” at his fate and that she needs Drumm to ‘send over one of his staff to help untangle this.’

Equally as objectionable is the behaviour of the ever-condescending Iric, who has clearly already obtained a major chip on his shoulder over the success of Emily Bright with her classes. Irritated by “little miss perfect” being upset that none of the adults noticed Calvin’s disappearance, the Asgardian immediately tries to make the object of his jealously feel bad by publically highlighting that she didn’t observe her friend’s absence either, and satisfyingly gets a tremendous sock in his sanctimonious jaw for his trouble.

However, perhaps Young’s best writing comes towards the end of this comic following the students’ decision to ‘go it alone’ without their teachers, and discover the whereabouts of Morse. Literally crammed into a small rowing boat and being lead by the missing magician’s animated jacket, the increasing tension of this sinister sequence is truly palpable, and only escalates as artist Humberto Ramos pencils the party being ‘picked off’ one by one; “It took her! Something took Dessy! She was here, and there was a branch or vine or something. It just --”

The regular cover art of "STRANGE ACADEMY" #5 by Humberto Ramos & Edgar Delgado

Batman: The Adventures Continue #12 - DC Comics

BATMAN: THE ADVENTURES CONTINUE No. 12, September 2020

Containing a storyline which is so savagely violent that it would never have seen the light of day as an actual episode of the superhero animated television series in the early Eighties, Alan Burnett and Paul Dini’s narrative for this particular instalment to their “Red Son Rising” storyline arguably traverses a delicate path between paying its respects to the beloved world of “Batman: The Animated Series” and Jim Starlin’s somewhat controversial "A Death in the Family" four-issue mini-series. For whilst the “digital first” publication doesn’t go to lengths of actually having the Joker cold-bloodedly kill a hapless Jason Todd with a crowbar, as per the “DC Comics” book so memorably pencilled by legendary artist Jim Aparo, it doesn’t stop far short.

Indeed, if not for Harley Quinn’s apparent squeamishness at the suddenly all-too serious Clown Prince of Crime’s murderous intentions, and the timely arrival of the Caped Crusader, there seems to be no doubt that the ‘out of control’ Boy Wonder would have been remorselessly beaten to death with absolutely no hope of escape or clemency; “Did you think we were just going to give him a love tap and let him go?! He won’t stop until he’s killed every one of us! You’ve seen what he’s done! He begged for this!”

Similarly as successful is the writing partnership’s enthralling ability to genuinely place Batman between a rock and a hard place, both physically and morally. A highly-emotional Dark Knight is understandably horrified at what the Joker has done to his former crime-fighting companion, and seemingly has his vow to never take a life pushed to its very limits. However, despite everything his white-faced arch-nemesis has done the cowled vigilante still remains true to his oath, and desperately attempts to rescue the villain from a flaming overturned car, even when his dying team-mate is screaming at him to let the homicidal maniac meet a grim demise.

Tying all these plot threads up together into a thoroughly entertaining roller-coaster of a read are Ty Templeton’s fast-paced panels and Monica Kubina’s colours. Insanely calm and calculating one moment, then brandishing his improvised hand-weapon with deadly glee seconds later, the Joker’s facial expressions are particularly well-drawn, especially once his bloodlust takes over and any suggestion of humour has been entirely erased from his countenance.

Writers: Alan Burnett & Paul Dini, Penciler: Ty Templeton, and Colorist: Monica Kubina