Harley Quinn #12 - DC Comics

HARLEY QUINN No. 12, April 2022

Whilst this twenty-two page periodical’s plot undeniably provides its readers with both a resolution and the sort of acrobatic-based heroics they probably would’ve expected from its titular character, Stephanie Phillips’ storyline for Issue Twelve of “Harley Quinn” arguably contains a fair few dubious, head-scratching moments. In fact, despite the colourfully-costumed crime-fighter’s evident success over the utterly insane Keepsake “and his new robot pumpkin army”, it is disappointingly never made clear just how Paul Dini’s co-creation actually managed to derail her opponent’s speeding train of death just seconds from it running straight over a helpless Kevin; “Yeah… I cut that one a bit close. Sorry about that. My math was… a little off.”

Of course, that isn’t to say that this comic’s opening third, which sees Harleen Quinzel desperately battle her way towards a ludicrously-large bomb beneath a rampaging steam locomotive, doesn’t deliver plenty of pulse-pounding tension. As the tightly-penned action sequence debatably contains one of the book’s highlights as she imagines just how the likes of Zatanna, Superman or Aquaman would resolve the cliff-hanger. But the precise nature of the baseball bat-wielding vigilante’s solution is never shown, with the audience instead simply being informed that the Gotham City Siren somehow forced the exploding train into a river just as she threw herself clear of danger.

Likewise, the narrative ends with Quinn and the freshly rebranded “Caucus Of Kicking Keepsake’s ***” leaving the defeated villain to die alone beneath a fast-falling building, without lifting so much as a finger to save him from the rubble. This abandonment to ‘certain death’ debatably goes completely against the new ‘ethical code’ Harley is supposedly now following as a ‘wannabe member of the Bat-family’, and appears particularly incongruous as it occurs straight on from the “trained psychiatrist” lengthily lecturing her band “of ex-Joker henchpeople” about their plan to heartlessly kill Eli Kaufman in cold blood.

Enjoyably however, what this comic’s script might lack in logic or exposition, it definitely makes up for with eye-catching candy, courtesy of some stellar sketching by Riley Rossmo. The “instructor at the Alberta College of Art and Design” does an incredible job of illustrating Quinzel’s agility during Kevin’s rescue mission, and provides Anne’s attack upon Keepsake’s headquarters with all the chaotic gunplay, explosions and fisticuffs a bibliophile might expect from a large-scale skirmish within a closely-confined facility.

Writer: Stephanie Phillips, Artist: Riley Rossmo, and Colors: Ivan Plascencia

Black Widow #15 - Marvel Comics

BLACK WIDOW No. 15, May 2022

Sadly bringing this ongoing series’ “legendary run” to an end, Kelly Thompson’s narrative for Issue Fifteen of “Black Widow” certainly seems to do a job good in both wrapping up the comic’s latest sense-shattering shenanigan, as well as leaving the book’s audience asking for more stories about Natasha Romanoff’s increasingly close super-heroic family. Indeed, towards the end of this twenty-page periodical’s plot, the “Eisner-winning” writer makes a remarkable habit of penning some the Soviet agent’s ongoing adversaries conducting a successful break for freedom so they can live to fight another day; “Your honour spared my life once before, and I do the same for you now.”

Foremost of these intriguing ‘open-ends’ is arguably the defeat of the Living Blade, after the mysterious swordsman is stopped short of slicing up a clearly battle-weary Yelena Belova. Perhaps somewhat disappointingly, the pair’s apparently epic confrontation isn’t actually covered by this publication due to the action following the titular Avenger first and foremost. However, considering that it is made somewhat clear that the injured “exemplar trainee in the Red Room Academy” wouldn’t have survived her duel for much longer if not for Natalia’s swashbuckling intervention, it doesn’t bode well for Romanoff’s future when she later grants the cold-blooded killer clemency.

Likewise, there’s the suggestion that the selfish Twins, Liv and Lars, plus Aldrich Lux Voss, will surely crop back up like a bad penny once the New York City-based publisher decides to produce another comic based upon the Black Widow’s exploits. The sudden departure of the odious platinum-blonde doppelgangers just as Spider-Girl needs their physical help to fend off a flurry of the Host’s pistol-toting henchmen is particularly perturbing, as their unappreciative abandonment comes just as Lucy Nguyen has literally brought one of them back from the brink of death with her “volatile electric” abilities.

Of course, alongside this book’s enthralling authorship are its eye-catching layouts by Elena Casagrande, Rafael T. Pimentel, Elisabetta D’Amico and Jordie Bellaire. The mix of pencilers, inkers and colour artist do an excellent job in conveying the rising tension of the superspy’s swansong by providing some genuinely pulse-poundings panels, such as those depicting the Winter Soldier single-handedly stopping a heavily-guarded Host from escaping aboard a helicopter, and Natasha’s awesomely-acrobatic final clash of swords against the Living Blade.

The regular cover art of "BLACK WIDOW" #15 by Adam Hughes

Captain Carter #2 - Marvel Comics

CAPTAIN CARTER No. 2, June 2022

Despite initially presenting this twenty-page periodical’s audience with an all-too brief battle between Project Rebirth’s successful candidate and some heavily-armed Hydra goons “at an Eastpark shopping centre in London”, Jamie McKelvie’s narrative for Issue Two of “Captain Carter” is arguably much more of a dialogue-driven, political commentary on British modern-day policymaking than a tale about “the sudden resurgence” of Baron Strucker’s terrorist organisation. Indeed, even this comic’s central plot thread concerning Georges Batroc supposedly smuggling weaponry into Lincolnshire is quickly turned into a heated argument over the asylum claims of immigrants illegally entering the Empire, the Windrush scandal, and the virtues of believing what you read in the newspapers as opposed to what the government states.

Of course, the Pennsylvanian-born writer’s notion of a nation’s ruling administration being controlling, manipulative and an abuser of its authority over the people is nothing new within the world of fiction. But on this occasion the accusations stem from Peggy’s decidedly antagonistic neighbour Harley, who has seemingly undergone a complete personality change since this mini-series’ first instalment in which she was somewhat absentminded, and been transformed into an aggressively confident agitator who egotistically knows precisely the correct history books the super-heroine should read so Captain Carter can “do this job right.”

Disappointingly, this somewhat lengthy scene subsequently leads into a massive confrontation between the titular character and Britain’s current Prime Minister, Mister Williams. This book’s audience have already been made highly suspicious of the leader’s motivations earlier on in the publication’s storyline, so it certainly comes as no surprise that the costumed crime-fighter has a strong distrust of her nation’s elected head. However, the fact her angry accusations are based purely upon a few tomes she’s supposedly seen by three activists appears rather unconvincing and far-fetched, especially when Peggy is supposedly meant to be a great spy, who would surely corroborate any such theories first..?

Perhaps therefore this book’s saving grace is the artwork of Marika Cresta, who does a prodigious job pencilling the increasing political tension upon the faces of those figures involved in this comic’s aforementioned conversations. In addition, the Ringo Awards nominee is excellent at illustrating the sheer chaotic mayhem which occurs when S.T.R.I.K.E. ambushes Batroc’s operation, with bullets, shields and punches flying everywhere.

The regular cover art of "CAPTAIN CARTER" #2 by Jamie McKelvie

Iron Man [2020] #18 - Marvel Comics

IRON MAN No. 18, May 2022

Essentially just chronicling Tony Stark’s realisation that “he’s become worse than Korvac” following him cold-bloodedly slaughtering a number of his super-powered colleagues whilst attending a pizza party, Christopher Cantwell’s script for “Hello, Darkness, My Old Friend” probably struck the majority of its readers as an overly-long, lack lustre affair. Indeed, for those bibliophiles familiar with the more ‘brisk’ penmanship of Bronze Age Iron Man luminaries Denny O'Neil or David Michelinie, this twenty-page periodical’s plot sadly smacks of being full of unnecessary padding, and would arguably have been depicted in the past with a single splash page pencilled by the legendary Bob Layton, rather than dragged out across an entire publication.

Of course, that isn’t to say that the American author’s persistent references to the story of Doctor Jekyll and Mister Hyde aren’t entirely without merit, as the comparison of the Golden Avenger being the physician, and egotistical industrialist the monster proves an incredibly thought-provoking analogy. But such an intriguing parallel could debatably be easily conveyed within the space of a handful of well-designed panels, as opposed to the numerous word-filled text-boxes which are repeatedly employed throughout middle of this comic book; “Rinse and repeat. I’m stuck, Patsy --”

Happily however, what this “penultimate issue of the Books Of Korvac” also provides is a reversal of the Iron God’s aforementioned murderous massacre, courtesy of the billionaire resurrecting his ‘friends’ with little more than a gesture of his cosmically-charged hands. The fact that each ‘victim’ retains the memory of what Stark did to them though is certainly an interesting twist, and will doubtless sow the seeds of doubt and uncertainty in the wider world of costumed crime-fighters once word of the killings gets out.

Undoubtedly assisting Cantwell in his endeavour to complete this comic is Lan Medina, who does a sterling job pencilling a number of page-sized single panels, such as the emergence of the original Mark One armour from an Afghanistan cave during a lengthy flashback sequence. This series of action-shots is especially noteworthy as the Filipino artist clearly takes “heavy inspiration from the character's counterpart from the Marvel Cinematic Universe”, so rather erroneously pencils Shell-head’s alter-ego with a goatee as opposed to the thin moustache he has sported throughout this ongoing title’s current run.

The regular cover art of "IRON MAN" #18 by Alex Ross

Iron Man [2020] #17 - Marvel Comics

IRON MAN No. 17, April 2022

Very much placing Tony Stark himself as this ongoing series’ main antagonist, Christopher Cantwell’s storyline for Issue Seventeen of “Iron Man” certainly provides a chilling demonstration of absolute power corrupting its wielder absolutely. For whilst the cosmically-enhanced billionaire seemingly thinks his dubious decision to ‘exponentially raise the intelligence of every New York City citizen’ is a good one, the Chicago-born writer’s narrative provides plenty of evidence as to just why making approximately nine million people super-smart is simply a recipe for chaos, crime and even cold-blooded murder; “The Frog never realises he’s dead until it’s too late.”

Disconcertingly however, especially for those readers who are fans of the Golden Avenger, “Farewell, My Space Friends” also shows the disastrously detrimental effect being the Iron God has had upon the mental stability of its current owner. The egotistical industrialist has arguably always struggled to accept justified criticism of his poorer pronouncements, but in this twenty-page periodical, the “proficient scientist” simply transforms all his detractors, naysayers and even friends, into persistently nodding “Yes Men” so he can “pull off my vision without all the headache and second-guessing.”

Such a massive abuse of his galactic-sized responsibility doesn’t even register upon the egotist’s moral compass, and subsequently sets this comic up for a truly terrifying confrontation between Stark and the rag-tag band of heroes who actually helped him achieve victory over Michael Korvac in the first place. Indeed, debatably for many readers Tony’s almost nonchalant destruction of the likes of the Silver Surfer, original Human Torch, Gargoyle, War Machine and Frogman one by one in a decidedly evil fashion depicts just how utterly insane Stan Lee’s co-creation could potentially always have become if given the ‘right’ circumstances.

Clearly helping imbue this homicidal so-called deity with a ton of hubris and self-satisfying swagger are Ibraim Roberson and Angel Unzueta, whose prodigious panels do a first-rate job of illustrating both the carnage caused by Iron Man’s highly questionable choices, as well as his matter-of-fact massacre at Patsy" Walker’s luxurious sky-line apartment courtyard. The vile sneer shown upon Stark’s face when he’s actually disintegrating his former comrades-in-arms is particularly disturbing, and instantly shows just how badly one of the world’s mightiest champions for justice has fallen.

The regular cover art of "IRON MAN" #17 by Alex Ross

Batman: The Adventures Continue Season Two #6 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON TWO No. 6, January 2022

Jam-packed with as many twists and turns as you’ll find on-board a funfair’s rollercoaster ride, this second instalment to Alan Burnett and Paul Dini’s “Mayor Mayhem” storyline probably landed rather well with fans of the “Batman: The Animated Series”. For whilst the central plot of the twenty-page periodical predominantly focuses upon former Mayor Mayfield’s inexplicably successful ‘charm campaign’ for re-election, the “visionary team” behind the nineties cartoon television programme also throw in an intriguing mix of familiar rogues and freshly-created villains to help liven the party up.

Indeed, arguably one of this comic’s biggest successes is its narrative’s ability to initially ‘hook the reader’ with the mystery behind just how the enigmatic Emerson is able to surprisingly hypnotise all those around him in order to fulfil his shady political ambitions, and the subsequent revelation that the corrupt councilman is actually doing it by utilising the special powers of certain nefarious Arkham Asylum inmates; “Something funny is going on. Like how my enthusiasm for Mayfield fades whenever he’s not nearby. Judging by the way Miss Hanbury reacted, I’m pretty sure it has something to do with this off-limits Strategy Room.”  

Furthermore, the book’s collaborative writing duo also pen some truly exhilarating fight scenes for the Dark Knight to become embroiled in, most notably his tussle with a seemingly all-power Errol Flynn lookalike referred to solely as “the actor”. This rooftop bout of fisticuffs is remarkably well-played, with Bruce Wayne’s alter-ego momentarily appearing completely outclassed as his well-dressed opponent attempts to brain the Caped Crusader with his own Bat-signal. Perhaps unsurprisingly, the super-tough assailant is eventually outmanoeuvred and forced to flee when a nearby water hydrant is overturned. However, by then the goon has already rather cleverly been shown to unwittingly leave the audience with a tantalising hint as to his true identity.

Helping to add plenty of “Thuuf”, “Whack” and “Bammm” to this publication are the layouts of artist Rick Burchett and colorist Monica Kubina. The pair do a tremendous job in illustrating such dynamic action sequences as Clayface’s sense-shattering ambush whilst the Dark Knight is driving the Batmobile. But debatably some of the line work used to sketch many of this comic’s more sedentary, dialogue-driven sections, most notably when a bare-chested Wayne is exercising in his gym, appear rather disappointingly minimalistic in nature.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON TWO" #6 by Jorge Fornes

Harley Quinn #11 - DC Comics

HARLEY QUINN No. 11, March 2022

Largely focusing upon this ongoing series’ titular character, Stephanie Phillips’ narrative for Issue Ten of “Harley Quinn” surely must have entertained the vast majority of its audience with its well-penned combination of action, adventure and desperate decision-making. Indeed, “Bad Math” goes to great lengths so as to show just how far the colourfully-costumed anti-heroine has come in helping the mentally anguished former-pawns of her mass- murdering "Puddin" get over their psychological trauma, and how highly she now places the wellbeing of Gotham City’s innocent inhabitants; “How long will it take… to crawl along the underside of the train and defuse the bomb before it reaches the station, killing hundreds..?”

Furthermore, the twenty-two page periodical’s plot also contains some scintillatingly tense set-pieces, due to the “very dramatic villain named Keepsake” attacking Harleen Quinzel with a formidably-sized army of gun-toting robo-cops. These pumpkin-headed automatons provide the “expert gymnast” with the perfect opportunity to demonstrate her considerable acrobatic skills, as well as show just how devastating the Gotham City Siren can be with both her infamous baseball bat and Arnold Schwarzenegger action movie quotes.

Perhaps however, this comic’s most impressive moment comes when Quinn is forced to finally decide between saving her “best friend, and sidekick, Kevin” or the hapless travellers frequenting Gotham Central Station some 250 miles away. The Joker’s former girlfriend barely hesitates in potentially dooming her rotund pal to a grisly death, but the raw emotion in her voice as she says “I’m so sorry, Kevin…” literally leaps off the page, and signifies that she will be doing her level base to stop the rampaging steam locomotive she’s been handcuffed to before its slices her chubby chum to pieces beneath its wheels.

Adding plenty of dynamically-drawn panels to this tale is Riley Rossmo, whose ability to pencil Harley leaping from one assailant to another with all the grace of a flying trapeze artist is breath-taking. In addition, the Canadian artist’s marvellous design of Keepsake’s giant robot trooper is very well visualised, and helps provide some believability to the notion of just how this book’s central protagonist is captured by the heavily-armed machine, when a plethora of its smaller robotic brethren failed in their mission to do so.

Writer: Stephanie Phillips, Artist: Riley Rossmo, and Colors: Ivan Plascencia