Teenage Mutant Ninja Turtles [2024] #9 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 9, June 2025

Described by “IDW Publishing” as containing an “already weakened, weary, and a little deranged” Donatello, many fans of Kevin Eastman and Peter Laird’s creations may well have felt similarly exhausted by Michelangelo’s blatant contempt for his half-shelled siblings – which rather tediously continues throughout this twenty-two page periodical. Happily however, the incessant in-fighting between the other mutant brothers does come to an end a lot sooner, and resultantly brings a few moments respite from the nunchucks-wielding ninja’s unremitting moaning.

Such relief probably couldn’t have come soon enough for many a reader either, as the brutal bickering genuinely grates upon the nerves the longer it goes on, and for some may well ruin an otherwise exhilarating opening action sequence which depicts two of the central protagonists battling shoulder-to-shoulder against a sizeable army of Foot patrol officers – many of which appear to be armed with flame-throwers; “Fine. Just stay outta my way. I ain’t no guest star on your stupid TV show. I can only deal with one crazy brother at a time.”

In addition, the intriguing notion that Splinter is somehow able to communicate with his students through the decaying carcass of a dead rat, provides Donnie with a wonderfully penned meeting with District Attorney Hale which really strikes home how omnipotent the turtles’ deceased master may well have become. The disagreeable boastful barrister appears to be about to bring a severe beating down upon his helpless, emaciated prisoner. Yet it is the placid prisoner, who quietly tries to reach out to Hale’s remaining humanity over the horrible murder of the man’s parents, which resonates far louder than any threats or actions the loud-mouthed lawyer can utter.

By far this comic book’s biggest ‘hook’ though is undoubtedly the absolutely adrenalin-fuelled layouts pencilled by Juan Ferreyra. The illustrator provides this publication with some truly mouth-watering fight scenes, such as Michelangelo taking on a trio of pistol-packing Metro Sharks in a subway train. But it is his almost ‘workshop manual’ approach to the turtle’s overt infiltration of the Foot Patrol Precinct Headquarters which really captures the eye, with its incredible attention to all the different floor sections and weaponry that is on hand for its black-clad occupants to utilise.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #9 by Jorge Fornes

Astonishing Tales #32 - Marvel Comics

ASTONISHING TALES No.32, November 1975

Considering the amount of behind-the-scenes mayhem which seems to have occurred to get Issue Thirty Two of “Astonishing Tales” fit for the spinner rack, it’s rather impressive that Rich Buckler’s plot arguably works out as well as it does. Indeed, quite neatly meshing together the somewhat separate storylines of Deathlok and Mike Travers, as the pair bravely forge ahead with their own adventures in post-apocalyptic New York City, “The Man Who Sold The World!” should have repeatedly caused its concerned audience to wonder whether either of the protagonists were ever going to make it to the end of the seventeen-page periodical alive; “You guys put too much faith in Ryker’s seeing eye dog! Don’t forget -- I helped build it!”

Perhaps somewhat surprisingly, one of these biggest fears debatably stems from Travers’ almost suicidal attempt to rescue Nina Ferry from the very “building where he [himself] was held captive.” This utterly reckless, one-man assault bodes very poorly just as soon as Luther Manning’s “ex-war buddy” enters the foyer and has to throttle the first of several armed guards he encounters inside. Eventually, the Lieutenant is completely surrounded. Yet rather than surrender he brazenly turns his automatic weapon on his would-be-captors in a heart-stopping do-or-die effort.

To be honest though, the Demolisher doesn’t appear to be any less willing to sacrifice himself for a hopeless cause either, and repeatedly throws himself into conflicts against superior numbers despite there being a “87.00967% probability of being destroyed.” In fact, Deathlok’s determination to find out the name of the surgeon who could theoretically transform him back into a living being is so palpable, that it surely appeared certain to many a bibliophile that the war veteran was repeatedly just a paltry panel away from trying to punch one too many homicidal human drones, or flesh-hungry cannibals.

In view of all these scares however, this publication’s greatest shock is most likely how strong its interior artwork looks, despite Buckler, Keith Pollard, Bob McLeod and “the whole blame Bullpen” having to get together to get the book fully illustrated. Naturally some of the sequences, such as Simon Ryker ordering a soldier to have his computer “assemble a read-out on a man named Victorio Quartuccio”, look understandably rushed and incongruous with some of the surrounding pencilling. But there should be no doubt that whenever Manning throws a punch, or hurls a subway’s trolley cart at a group of assailants, bones are most definitely being broken.

Plot, Concept & Script: Rich Butler, Script: Bill Mantlo, Artwork: Rich Butler, Keith Pollard, Bob McLeod & The Whole Blame Bullpen

G.I. Joe: A Real American Hero #307 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 307, June 2024

Quite marvellously interweaving a number of different plot-threads together within the space of this twenty-page periodical, Larry Hama’s storytelling for Issue Three Hundred And Seven of “G.I. Joe: A Real American Hero” probably had most of the military science fiction franchise’s fans frothing at the mouth in absolute delight. In fact, despite the somewhat head-spinning number of different operatives in play, ranging from Scarlett, Storm Shadow and Snake-Eyes at the Pit, to the likes of Helix, Muskrat and Wet-Suit conducting covert reconnaissance duties on Cobra Island, the enjoyable straightforwardness of Great Serpentor Khan’s plan to devastate Springfield with a squadron of heavy stealth bombers is genuinely easy to grasp.

Furthermore, the grand, sweeping nature of Cobra’s overall goal is nicely contrasted with the adrenalin-fuelled action of a much more local affair, when Duke’s team is discovered by Khan’s cyborg warriors spying upon Revanche’s heavily modified VTOL aeroplanes. This chase sequence is as pulse-poundingly paced as it is packed full of armoured vehicles, and provides both sides of the battle with plenty of opportunities to show off their combat skills, as well as the deadly nature of their advanced weaponry; “Their visual receptors are their wink link. You can’t armour an eye socket.!”

The American author is also very good at injecting a palpably poignant moment into this magazine, courtesy of poor Dawn Moreno discovering that her parents have been brutally gunned down by Vipers during a botched traffic-stop. So strong an emotional connection with the audience is arguably incredibly difficult to deliver when it comes to comics, especially when the book is based upon a range of “Hasbro” toy action figures. However, even the most hard-hearted of bibliophiles will surely crumble at the sight of poor “Female Snake Eyes” nursing a hot drink whilst being told the dreadful news.

Just as successful as this publication’s writing is Paul Pelletier’s pencilling, who impressively captures all the desperate determination of Wet-Suit’s squad during the aforementioned chase sequence. In addition, the “superstar artist” appears particularly prodigious at sketching bouncing buggies and tracked vehicles smashing their way through thick jungle growth, with his panels’ multitude of air-to-surface missiles, death-dealing bullets, and tank-slicing laser beams bringing plenty of pace to the proceedings in between a few of the more sedentary, dialogue-heavy scenes.

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #307 by Andy Kubert & Brad Anderson

Nightwing #109 - DC Comics

NIGHTWING No. 109, February 2024

It’s probably a safe bet that few of this comic’s readers actually agreed with “DC Comics” claim that Issue One Hundred And Nine of “Nightwing” would provide the ongoing series with a “dramatic conclusion” to its current, multi-part storyline. In fact, if anything, Tom Taylor’s unconvincingly swift end to Beatrice Blud’s battle against her nefarious adoptive brother Dirk, is so strikingly sudden that it will doubtless seem to some that the Australian author simply wanted to get the swashbuckling story over with so he could quickly start penning his “tie-in to Beast World” instead; “Turn out the light, Commissioner Montoya. Batman’s not coming. He’s in Bludhaven… Also, he’s a wolf.”

Much of this sense of abandonment comes during the twenty-two page periodical’s opening, when Dick Grayson miraculously manages to overcome his increasing fear of heights so as to save his former lover from a watery grave. This terrifying dive into the ocean's depths isn’t arguably all that remarkable in itself. But it suddenly leads straight into a scene where the super-hero has somehow dragged the woman back to safety, competently stitched up her potentially lethal stab-wound, and so tightly bandaged the captain together that she is able to immediately shrug off the injury in order to fly an aeroplane.

To make matters worse though, rather than then allow any more time to pass, the Melbourne-born writer has Batman’s original Boy Wonder single-handedly beat the living daylights out of Dirk and his small army of heavily-armed thugs with a pair of batons. Admittedly, this action sequence provides artist Stephen Byrne with a cracking opportunity to show off just how well he can pencil the costumed crime-fighter’s famous acrobatics. But it surely also raises the question as to just how much of a threat Ruben Blud’s biological son really was, and just why any pirates actually followed the arrogant thug in the first place.?

Much more exciting and engrossing than this comic’s central feature is Taylor’s fascinating prologue to “Beast World”. This “thrilling new event of the season” gives Damian Wayne some highly enjoyable ‘screentime’ as Robin intuitively investigating just where all the citizens-turned-animals have disappeared to in Gotham City, as well as allowing Sami Basri a chance to sketch the mysterious big game hunter Apex Ava.

The regular cover art of "NIGHTWING" #109 by Bruno Redondo

Space Ghost #6 - Dynamite Entertainment

SPACE GHOST No. 6, October 2024

Whilst many within this comic’s audience may well disagree with the New Jersey-based publisher’s claim that its narrative ‘ratchets up the tension’, Issue Six of “Space Ghost” certainly shines a disconcertingly dark spot on the dysfunctionality of the titular character’s relationship with young Jace following “the shattering events” of the ongoing series’ previous instalment. In fact, for the vast majority of this twenty-two page periodical, the hero’s former side-kick spends most of his time simply sat in shadows scribbling down just how miserable he feels inside a handwritten journal; “I should consider myself lucky that he didn't cut us loose after everything that happened. After what I did to Zorak.”

Fortunately for those readers who enjoy a good fist-fight though, David Pepose at least appears to try to keep this book from being too bogged down with the boy’s feelings of worthlessness, by pitting “Hanna-Barbera Productions” creation against the utterly mad Moltar. This fire-obsessed maniac genuinely brings a palpable sense of deadliness to the publication’s proceedings, and actually appears perfectly capable of besting Dax’s costumed alter-ego if the cosmic vigilante isn’t too careful.

The American author also does a first-rate job in penning a reasonably straightforward scheme for his villain-of-the-piece to achieve, courtesy of the fire-proof fanatic’s strangely polite verbal agreement with the evil Doctor Xander Ibal, and this resultantly allows him to spend a good portion transforming the leader of the Magma Men into a much more rounded antagonist than perhaps that seen during the 1966 animated cartoon television show. Furthermore, the massively destructive desperado, who seemingly likes nothing better than to stand in the middle of a large-scale lava eruption, is clearly capable of using his brains as well as brawn, when scientifically “calculating the melting temperatures” of Space Ghost’s force fields. 

Similarly as successful in adding a genuine feeling of heat to this comic are Jonathan Lau’s layouts. The artist appears particularly good at pencilling plenty of convincing lava discharging all over the place, as well as showing how somewhat bulky and cumbersome Moltar is when walking around the likes of Contra Industries in his garishly coloured, somewhat ill-fitting costume. Perhaps the illustrator’s finest moment though comes somewhat quietly towards the end of this book, when he tucks away a truly endearing, emotional embrace between Jace and Dax into a bottom corner panel.

The regular cover art of "SPACE GHOST" #6 by Francesco Mattina

Absolute Batman #3 - DC Comics

ABSOLUTE BATMAN No. 3, April 2025

It’s probably quite easy to see why Issue Three of “Absolute Batman” was the best-selling comic of December 2024 (at least according to the news platform “ICv2.com”), considering just how utterly insane its opening is as both the Dark Knight and Alfred Pennyworth attempt to escape a horde of heavily-armed, homicidal Party Animals on board “a giant, bat-themed dump truck”. In fact, many a reader probably didn’t want the “sweet smell of kerosene” to ever fade, as the unlikely alliance pair together to blast the skull-mask wearing goons to pieces using a variety of electrically charged mini bat-projectiles.

Impressively however, Scott Snyder then manages to keep up with this sense of pace, despite the spotlight turning away from Bruce Wayne’s headlong drive down to Gotham City’s waterfront and turning to Harvey Bullock’s dialogue-driven encounter with Mister Roman Sionis instead. Ordinarily such a meeting might contain some nose-to-nose face-offs so as to suggest the hidden menace behind the Black Mask’s offer for the police officer to support Hill’s election bid to become the metropolis’ next mayor. But on this occasion the villain is perturbingly shown wrestling the former Champ Bibbo Bibowski to the death as they talk; “Don’t worry about him, Commissioner. He’ll be fine. Now, come. Let’s talk about peace.”

Likewise, the American author is able to genuinely ‘sell’ the sheer weight of the mass-murdering megalomaniac’s offer to Batman, who in simply standing down from crime-fighting for a week will receive two hundred million dollars. This almost unfathomable sum of money, as Pennyworth quickly points out, could easily be used to help the Caped Crusader establish himself as Gotham’s primary protector – as well as ensure that the young man’s mother, who has foolishly agreed to be Jim Gordon’s deputy mayor, is kept safe from harm.

Truly excelling at pencilling all this twenty-five page publication’s high octane moments is Nick Dragotta, who does an incredible job of showing just how exhilarating a ride Alfred has standing atop the Bat-dozer. In addition, you can arguably hear the desperate, sweaty smacks on the floor as Sionis and Bibowski grapple with one another, as well as the former title-holder’s desperate taps to signify he surrenders as the astonished man is quite literally choked to death.

Writer: Scott Snyder, Artist: Nick Dragotta, and Colorist: Frank Martin

Teenage Mutant Ninja Turtles [2024] #8 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 8, April 2025

Largely focusing upon Leonardo’s misery following his inability to save a colony of soft-bellied reptiles from the Ganges River, this comic’s plot will doubtless cause many a bibliophile to wonder whether Jason Aaron actually intended to pen “the leader and strategist of the turtles” as being quite as disagreeably insufferable as he appears. True, the katanas-wielding warrior does eventually see the error of his ways, and resultantly deeply regrets attacking Donatello on an apartment block’s roof. But for some readers this regret may well come a little too late to ever care for the supposedly “most mature and disciplined” of Splinter’s students again.

Indeed, quite a considerable portion of this twenty-two page periodical appears to go to great lengths to show the Teenage Mutant Ninja Turtles as an easily dislikeable, incessantly argumentative and dysfunctional quartet – with only a clearly emaciated Donnie, who repeatedly hears the voice of their dead master in his head, apparently being the sole sane one. So dark an atmosphere really does make for a depressingly grim reading experience, and without any of the titular characters’ famous wisecracks and humorous exchanges, soon begins to grind upon the senses.

Far less disheartening, and much more intriguing, is April O'Neil’s investigation into the possibility of the Big Apple’s rat population coming together so as to form some sort of gestalt intelligence. Whether or not the vermin are being ushered together by the spirit of Splinter is not revealed. However, the possibility of the dead Sensei returning from his grave in some manner is enticingly dangled in front of the audience – and really seems to gain extra weight when Leonardo realises that the night-time crying he has head coming from Donatello’s corner is actually emanating from the corpse of a long dead sewer rat; “All right, master… I… I’m listening.”

Also far more engrossing than the heroes' endless loop of boisterous bickering are Juan Ferreyra’s layouts, which definitely bring a sizeable amount of much needed energy to this publication’s proceedings. Of particular note has to be the Turtles’ battle against a train load of Foot Clan ninjas on a New York City underground tube, as this adrenalin-fuelled sequence really gives the artist a chance to show off how well he can sketch the deadly, acrobatic skills of Leo, Raphael, and Michelangelo.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #8 by Jorge Fornes