Doctor Who: Free Comic Book Day 2024 - Titan Comics

DOCTOR WHO: FREE COMIC BOOK DAY 2024, May 2024

Apparently penned by Dan Watters whilst listening to English rock band “Adam and the Ants”, it’s pretty clear that the British author was having “a blast” whilst developing this opening instalment to “a brand new Fifteenth Doctor comic series from Titan Comics”. Indeed, despite some disconcertingly dark concepts concerning a viciously-fanged villain who bottles up the dying screams of people and stacks them upon a seemingly endless series of shelves, there’s still a distinctly good-humoured, rather jovial feel to the Time Lord’s trip back to a hangman’s gibbet in Eighteenth-Century Yorkshire. 

Much of this jocularity is undoubtedly caused by the twelve-page periodical quite wonderfully capturing all the energy and roguishness of actor Ncuti Gatwa’s televised portrayal. There’s a genuine joy to the Gallifreyan as he discovers a sound emanating throughout the space-time vortex, and excitedly decides to follow the noise to its source on Earth in the year 1739 A.D.; “All those places… someone’s trying to scare me.”

Such infectious enthusiasm is also on display when the Doctor subsequently encounters Dick Turpin, and wastes no time at all in climbing upon a nearby horse and riding the highwayman down. This tense chase sequence is the highlight of the comic, courtesy of the infamous robber attempting to blast the titular character to bits with a cyber-blaster. Yet its London-born writer still manages to inject some playfulness into the nail-biting action by having the leather-coated time traveller politely doff a semi-conscious soldier’s cocked hat at the start of the pursuit.

Equally as good as imbuing this book with the high-octane vitality of the science fiction programme are artist Kelsey Ramsay, and colorist Valentina Bianconi, who together quite wonderfully capture the physical likenesses of the show’s leading thespians. Admittedly, Ruby Sunday’s role within this particular plot is somewhat overshadowed by the Time Lord’s aforementioned heroic dash to recapture the ‘romanticised horse thief’. But nonetheless the graphic designer still manages to convey the courageous companion’s evident concern at being tied-up by the authorities in the mistaken belief that she is one of Turpin’s accomplices and should therefore be mercilessly hanged alongside him on the local gallows.

Writer: Dan Watters, Artist: Kelsey Ramsay, and Colorist: Valentina Bianconi

Daredevil [2022] #2 - Marvel Comics

DAREDEVIL No. 2, October 2022

Apparently kicking “the next year of Chip Zdarsky and Marco Checchetto’s landmark run on Daredevil off in explosive style”, the plot to this particular thirty-five page periodical predominantly consists of an extremely heated dialogue between the titular character and the enigmatic Robert “Goldy” Goldman. Happily however, the comic’s Edmonton-born author still manages to imbue his narrative with plenty of action, courtesy of Matt Murdock understandably soon losing his temper with his mass-murdering “old friend”, and some insightful flashback sequences. 

Indeed, quite possibly one of this publication’s greatest draws is how the villain almost affectionately remembers his time with the blind vigilante when they first met whilst studying at Columbia, and how the then ‘lawyer-in-training’ unsuccessfully attempted to rescue Elektra Natchios’ father from some heavily-armed kidnappers. This specific scene proves especially poignant as it depicts one of the blind vigilante’s most significant steps towards becoming the Man without Fear, as well as indicates that Hugo’s death was actually as a result of Goldman inciting a “trigger-happy cop on the edge” to fire straight at the hapless hostage, as opposed to the Greek diplomat’s demise simply being a tragic accident.

Equally as intriguing though is the way Zdarksy cleverly shows the audience just how highly Daredevil is thought of by his local community. Trapped beneath a huge pillar of fallen masonry following a catastrophic train crash, the super-hero appears to be completely at the mercy of his so-called guardian angel. But then a group of locals arrive to establish whether any people need rescuing, and bravely see off “Goldy” with a well-placed stone to the head. In addition, this scene shows precisely why the Black Widow’s former partner is so willing to put his life on the line for his people, as they ignore the imminent danger to themselves and unselfishly band together so as to save the partially-crushed crime-fighter; “Ribs have seen better days. No internal bleeding.”

Helping to provide “this oversized epic” with a gritty realistic look is Marco Checchetto, who alongside Flashback Artist Rafael DeLatorre, helps to sell every punch thrown and kick that connects. In fact, the action sequences set high up on an under-construction skyscraper may well cause many a fan of Hornhead to get giddy from the dizzying viewpoint; especially whenever Goldman decides to fall straight backwards and rely upon God to save him from a flattening fate.

Writer: Chip Zdarsky, Artist: Marco Checchetto, and Color Artist: Matthew Wilson

Horror Comics #31 - Antarctic Press Comics

HORROR COMICS No. 31, December 2023

Taking its audience back in time to Fifteenth-Century Romania and the rule of Dracul, Dino Caruso and Shawn Richison’s narrative for Issue Thirty One of “Horror Comics” debatably does a sterling job in convincingly embroiling a huge vampire into the blood-curdling reign of the infamous Voivode of Wallachia. Indeed, the authors’ succinct storytelling as to how ‘Hannibal’ was appointed the Impaler’s “new seneschal” and later was forced to become “one with the shadows” upon his lord’s arrest for treason, is so enthralling that doubtless many a bibliophile was probably a little bit disappointed when the book suddenly jumps a good hundred years into the future.

Happily however Darwin’s plight at the hands of a ‘brotherly’ werewolf soon becomes just as beguiling, especially once it becomes clear the pair share a common, family bond with one another. Of course, the two potential time-travelling horrors also display some significant differences, such as the bald-headed, rebuilt collection of body parts much preferring to eat herbs than blood-drenched flesh. But the connection between these two characters, and subsequently the aforementioned vampire, is so well-penned that the relationship positively leaps off the printed page – even after the lycanthrope petulantly burns all his sibling’s precious plants.

Perhaps far less noticeable though, is the fact that various papers have also travelled along with Darwin from the present day – presumably being notes written by Doctor Liebrandt during his research on resurrecting “unnatural creations”. The wolfman’s interest in these tattered records is quite subtly underplayed for the most part, and largely relies upon visual clues to suggest just how much the lycanthrope hungrily scrutinises the discarded documents. Nevertheless, their contents and the knowledge they’ll impart intriguingly appears to bode ill for anyone attempting to thwart the monsters in their ultimate revenge.

Additionally adding to this publication’s overriding atmosphere of dark-hearted plots and general evilness, are J.C. Grande’s pencils, whose distinctive sketching style imbues the likes of Dracul, his “pet” vampire, and the Werewolf with just the sort of hawkishness a fright-fan might expect from such mass-murderers. Furthermore, the illustrator’s much more round-looking Darwin readily helps set the well-meaning individual apart from his brethren, and provides the somewhat crestfallen fellow with a palpable air of vulnerability not found in the rest of this comic’s cast.

Writers: Dino Caruso & Shawn Richison, Illustrator: J.C. Grande, and Colors: Paul Little

Blood Hunt: Red Band #2 - Marvel Comics

BLOOD HUNT: RED BAND No. 2, July 2024

Pitching the surviving Avengers alongside Count Dracula himself in a highly unlikely team-up against a planetwide invasion of vampires, Jed MacKay’s script for Issue Two of “Blood Hunt” certainly seems to strike a much brighter note as to the Earth’s future fate than this summer event’s deeply dark preceding instalment. In fact, the absolute beating the likes of Bloodstorm One and Megrim take at the hands of Captain Marvel, the Vision and Captain America probably caused the odd reader to leap to their feet in order to cheer the protagonists on; “Here’s our philosophy: We have a lot to avenge.”

Enjoyably however, this twenty-one page periodical’s plot doesn’t simply rely upon an insane action sequence packed full of face-pummelling fisticuffs to entertain either, as the Canadian author also pens some intriguing plot progressions into the comic too – most notably the fact that Doctor Strange is still alive as a wandering spirit despite being disembowelled by Blade. These ‘quieter’ moments are especially impressive as they both provide the writer with an opportunity to bring any bibliophiles unwilling or unable to peruse the almost overwhelming number of tie-in titles bang up to speed with the overarching narrative, as well as provide a modicum of spotlight upon some of the Marvel Universe’s lesser known characters, such as Hunter’s Moon and the Daywalker’s daughter, Brielle Brooks.

Of course, it’s the aforementioned rematch between the “broken” Earth’s mightiest heroes and the Bloodcoven which most Marvelites will probably enjoy though. Having previously defeated the “all-star” supergroup, the vampiric villains are quick to forget that they had a distinct advantage over their opponents in their first fight, courtesy of a thorough briefing and the element of surprise. This time round the creatures of the night have no such benefits, and resultantly their arrogance is quickly silenced by the Vision’s ability to harness the power of solar energy.

Equally as intrinsic to this mini-series’ storytelling as MacKay’s contribution are the lavish layouts provided throughout by Spanish illustrator Pepe Larraz and Mexican colorist Marte Gracia. Together, the two artists genuinely depict a visual feast for the eyes, with perhaps Carol Danver’s socking Vlad Dracula’s gigantic clone squarely on the jaw being this apocalyptic publication’s most noteworthy smackdown.

The regular cover art to "BLOOD HUNT" #2 by Pepe Larraz & Marte Gracia

The Incredible Hulk [2023] #12 - Marvel Comics

THE INCREDIBLE HULK No. 12, July 2024

Initially pitting an enraged Green Goliath against some of Strange Academy’s more cute-looking students, this opening instalment to Phillip Kennedy Johnson’s “Doctor Voodoo And The Soul Cage” storyline certainly seems to start with an enjoyable mix of pulse-pounding pugilism and tongue-in-cheek bravado. In fact, despite the genuine urgency in the Hulk’s mission to find the Master of the Mystic Arts and have him save poor Charlie Tidwell’s soul trapped within a Frozen Charlotte doll, it’s hard not to imagine the odd onlooker laughing out loud as Doyle Dormammu bravely stands before the founding Avenger in an act of insane determination, only to be effortlessly flicked aside by a swipe of the brute’s heavy hand; “Stupid kid.”

Unnervingly though, once Jericho Drumm impressively enters this publication’s proceedings the comic’s atmosphere immediately takes a distinctly dark turn, and not just because the “champion of the supernatural” quite shockingly manages to subdue Bruce Banner’s furious alter-ego with disconcerting ease either. Absolutely dripping in necromancy and adorned with numerous shrunken skulls, the Supreme Houngan appears to be the perfect foil for all the aforementioned frivolity, as he introduces the audience to an immortal flesh-weaver who is imprisoned for all eternity inside an ugly-looking idol as a result of his obscene wickedness.

Coupled with a decidedly deadly Jade Giant finally tearing himself free of Voodoo's restraints, and it quickly becomes clear that the titular character’s “one-way descent into an exorcist’s ancient prison” is not going to be one for any light-hearted reader. Indeed, such is the sudden seriousness of this twenty-page tome’s tone that by the time Banner is seen desperately clawing his way out of a wooden, dirt-filled coffin, few Hulk-heads will arguably even remember the glee generated by Dormammu’s young son trying to stop the thickly-muscled monster with an impotent spout of fire. 

Imbuing all these sense-shattering shenanigans with the prodigious pencilling they all deserve is Nic Klein, whose early layouts depicting the likes of poor Guslaug literally having a tooth knocked clean out of her mouth as the Hulk rampages through Strange’s special school for young sorcerers, is eye-wateringly good. Furthermore, the scent of decay and pure unadulterated rot reeking from the illustrator’s panels set within Sumanguru’s perpetual penitentiary is almost overwhelming, with plenty of multi-legged creepy crawlies scurrying around all over the place to help make the odd reader sickeningly squeamish.

The regular cover art of "THE INCREDIBLE HULK" #12 by Nic Klein

Conan The Barbarian #10 - Titan Comics

CONAN THE BARBARIAN No. 10, May 2024

Arguably relegating the titular character to that of a secondary cast member as his plot predominantly focuses upon the plight of Kull the Conqueror, Jim Zub’s storyline for Issue Ten of “Conan The Barbarian” definitely drives along at a formidable pace. Indeed, for many bibliophiles caught up in the Canadian author’s thrill-laden thrust for the shores of pre-cataclysmic Atlantis, the penmanship is so relentless that many a ‘mature reader’ will doubtless feel they’ve actually physically travelled alongside the King of Valusia themselves; “Keep up, my soldiers! We must not flag in the face of fate!”

Disappointingly though, in order to achieve such a sense-shattering speed the Web Cartoonists’ Choice Award-winner’s sense of logic does seemingly take a fair few leaps, with the City of Wonders’ monarch in particular unconvincingly just ‘waking up’ from the “blind rage” which previously saw him battle both the Cimmerian and Brule the spear slayer. This sudden return to his senses after forty days of devilry for no evident reason genuinely feels forced, and additionally compels the audience to just accept that neither of the other central protagonists hold any distrust or grudge against him for being locked up in dingy cell under sentence of death for days on end.

Furthermore for those “Hyborian Heroes” acquainted with Lyon Sprague de Camp and Lin Carter’s 1968 novel “Conan Of The Isles”, Kull’s horror-filled nightmare, followed by his obsessive flight across the sea to Atlantis, is disconcertingly familiar. In fact, having already accumulated “a backlog of important royal affairs” whilst in his foul-minded stupor, the Atlantean ruler’s urgent desire to leave his courtroom behind and answer the “dark riddles of the past” is highly reminiscent of the way a certain restless future sovereign of Aquilonia will also 'abdicate' so as to once again “sail across the ocean” to Plato’s mythical island in "an age unconquered."

Happily however, this tale does at least feature the exhilarating artwork of Rob De La Torre, whose pulse-pounding pencilling of the Royal gallery being boarded by a party of zombie-like pirates is probably this twenty-two page periodical’s highlight. Admittedly, the physical similarities between Kull and Conan may well lead to the mistaken belief that this book opens with the Cimmerian dreaming of “the beasts of old”. But a careful reread of Zub’s text as to the true identity of the "feral child" stalking alongside the lion and tiger should soon put them back on the right track.

The regular cover art of "CONAN THE BARBARIAN" #10 by Alan Quah

The Batman And Scooby-Doo Mysteries [2024] #4 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 4, June 2024

Despite dealing with the disconcerting notion that innocent Gothamites can turn into grim-faced stone gargoyles at a moment’s notice, there’s debatably a distinct feel to Sholly Fisch’s script for Issue Four of “The Batman And Scooby-Doo Mysteries” that the author is trying to be just a little too clever with his storytelling. Indeed, the very notion that Clayface would conceive of so elaborate a scheme simply so the shape-changer could “steal the Sprang Theatre’s priceless collection of theatre memorabilia at my leisure” is utterly unconvincing, especially as a well-selected disguise would just as easily allow the super-villain to commit the crime with a lot less effort.

Of course, the writer does attempt to tackle so obvious a reproach by having Basil Karlo himself counter such criticism by claiming to Daphne Blake that his convoluted plan would require his “greatest performance” yet. But such an assertion isn’t arguably all that convincing, especially once Mystery Incorporated point out that the spate of terrifying transformations won’t be stopped by the auditorium being specifically closed to the public, so why would the building's owner do such a drastic thing; “There are plenty of grotesques on the outside of the theatre too, not just inside.”

Equally as exasperating as this comic’s manufactured plot though is probably poor Velma Dinkley’s incredibly annoying insistence that every gruesome statue which isn’t sporting a rainspout is not referred to as a gargoyle. This supposedly funny repetitive gag gets annoying very quickly, as everyone from Detective Bullock, Fred Rogers and even Clayface himself, are chided for their incorrect nomenclature. In fact, the so-called joke sadly starts to overshadow some nice nods to the original live-action “Batman” television series from 1966, such as when the Caped Crusader replicates the famous line “Atomic batteries to power, turbines to speed” as the Batmobile speeds away.

Disappointingly also adding to this carousel of criticisms is Megan Huang’s artwork, which whilst providing this comic with some adequate enough visuals, still doesn’t quite capture any of the cast’s appearances correctly. The Canadian artist seems especially shaky at sketching an incredibly square-jawed Bullock, and regrettably infuses every one of the meddling kids with a rather amateurish-look too.

Written by: Sholly Fisch, and Drawn & Coloured by: Megan Huang