Moon Knight #195 - Marvel Comics

MOON KNIGHT No. 195, July 2018

It’s probably safe to surmise that many regular readers of this title probably didn’t know what had hit them when they first opened Issue One Hundred And Ninety Five of “Moon Knight” and came face-to-face with Paul Davidson’s quirky artwork and Max Bemis’ utterly bizarre collection of social misfits, Maurice, Julie, Ty, Samantha and the “nothing particularly weird” Peter. Indeed, as first appearances go the subsequent double-splash of these five supporting cast members enjoying some sort of naked “extreme mind-body meld” in a bedroom may well have reminded the title’s British fan-base of Brendan McCarthy’s surreal sci-fi story “Sooner or Later” which featured in the comic anthology “2000 A.D.” way back in 1986..?

Fortunately however, once this ‘unhealthy’ band have been introduced to an A.I.M. machine which creates psychic bonds between people’s very souls, some semblance of normalcy is partially restored to the publication, with the “multi-limbed amalgamation of bodies known as the Collective” appearing to be just the sort of super-villain the schizophrenic Fist of Khonshu should be fighting. Certainly, the flesh-melting “unusual” foe provides this twenty-page periodical with precisely the sort of action its somewhat sedentary start sadly suggested the primary composer’s tale was going to be lacking, and that’s before the “unholy” creature has withstood an airborne assault from a multi-machine gunned helicopter by hurling the gigantic skull of a Tyrannosaurus Rex at the flying vehicle.

In fact, the sheer pace of the “pop punk” writer’s plot once Al the A.I.M. janitor’s “monstrous science” has done its work is sense-shattering, and leads to all sorts of pulse-pounding predicaments for the titular character as he glides into Queens aboard his Angel Wing and faces the advances of a multi-limbed criminal currently “composed of… at least 32 New Yorkers.” Immune to the cloaked crime-fighter’s arsenal of weapons, as depicted in an especially grisly scene when Marc Spector’s alter-ego slices numerous fingers, hands, ears and noses off of the grotesque gestalt, this book is arguably not for the faint-hearted, yet proves inescapably enthralling as Doug Moench’s co-creation nimbly averts attack after attack until his cowl is partially torn asunder and his liquefying facial features become one with the fluid flesh of Maurice’s creation; “Shhhh. No need to be scared… Welcome to the hive mind of the collective, where all our innermost thoughts and feelings are shared! This is where the magic happens!”

Writer: Max Bemis, Artist: Paul Davidson, and Colorist: Mat Lopes

Man Of Steel #1 - DC Comics

MAN OF STEEL No. 1, July 2018

It is pretty apparent right from the very start of this twenty-two page periodical, as Ivan Reis pencils a breath-taking vista of the titular character’s home planet from “many years ago”, that “a new era” is undoubtedly beginning for Superman and that this comic’s author, Brian Michael Bendis, a man apparently already steeped in the Last Son of Krypton’s lore, is probably just the man to do it. In fact, it's actually hard to recall seeing an author pen Kal-El so evidently enjoying his role as metropolis’ guardian whilst the iconically-costumed super-hero is simultaneously being troubled by “just too many fires in this part of the city” and “with what has happened to his wife and son”.

Foremost of these innovative changes is the Cleveland native’s introduction of a new villain, Rogol Zaar, whose venomous loathing for all things Krypton and desire to see its supposed plague-like people wiped out from existence before “everything we have sacrificed and fought for is warped and disregarded” quickly brings the savage extra-terrestrial to the attention of both The Circle, as well as The Guardians of the Universe. Holidaying on an inhospitable, monster-infested planet in between wars purely to “keep me trained, body and mind”, the formidably barbaric-looking warrior appears every bit the ferocious foe Dan Jurgen’s co-creation, Doomsday, has previously been for Jor-El’s son, and his disillusionment at his request to have the “fantastically advanced civilization” eradicated declined does not bode well for the Man of Steel; “Is it monetary? Have they gotten to you through their --”

Likewise, the Eisner Award-winner’s handling of Superman besting Firefly and Killer Moth, as the pair of Gotham City criminals unwisely argue about stolen money and haplessly pull “all his triggers”, provides this “DC Comics” publication with a dose of humour arguably seldom seen within the pages of an ever-serious Big Blue title. Indeed, such is the good-natured feeling of this scene, especially when Clark Kent’s alter-ego tells his petrified captives that he finds it funny when Batman drops his opponents from a great height, that one can’t help inwardly smiling throughout the rest of the action-packed sequence, even as ‘Smallville’ races to “another electrical fire” and saves the lives of a tower block’s remaining inhabitants.

Of course, such joviality soon comes to an understandable end when Supes discusses with new Deputy Fire Chief Melody Moore their combined concerns that Metropolis is suffering a spate of arson attacks due to someone being willing to light “a building full of people on fire for money”. But even then, once the serious subject has been broached and enthrallingly explored by the cast, Bendis appears keen to have the colourfully-caped Kryptonian subsequently enjoy a joke with his long-suffering newspaper editor, Perry White, over whether such pyromania is as readable as a “bloodcurdling citywide conspiracy.”

Script: Brian Michael Bendis, Pencils: Ivan Reis, and Inks: Joe Prado

Star Trek: The Next Generation: Through The Mirror #2 - IDW Publishing

STAR TREK: THE NEXT GENERATION: THROUGH THE MIRROR No. 2, May 2018

On the face of it, David and Scott Tipton’s script for Issue Two of “Star Trek: The Next Generation: Through The Mirror” is a fairly standard story which could easily have appeared on the small screen during the American science-fiction television programme’s Late Eighties run. In fact, besides the U.S.S. Enterprise rescue mission involving an Andorian Battle Cruiser, a rather enjoyable nod back to the franchise’s original series, the collaborative couple’s narrative contains few innovative surprises until the sixteen-page periodical’s penultimate panel when an astonished Captain Picard and his bearded Commander witness their dark universe counterparts stealing equipment from the blue-coloured aliens’ ransacked vessel via the Shashpar’s security recordings.

Admittedly, that isn’t to say that this second instalment to the weekly “IDW Publishing” mini-series didn’t probably provide its audience with plenty of entertainment, as Lieutenant Commander Throllob attempts to slice the “pink-skin” William Riker “for your crimes” with a seriously-sharp looking bladed weapon and a heavily perspiring Geordi La Forge waits until the very last second before ejecting the damaged spacecraft’s warp core; “You have to remember, Data, as a Chief Engineer, I spend all of my time trying to make sure we don’t eject a warp core.” But such trials ("and tribble-ations") have undoubtedly been seen more than once before, and as a result suggest that the writing team were simply going through the motions when they penned this particular publication…

Similarly as straightforward is Chris Johnson’s pencilling, which whilst of a tolerable, high(ish) standard, occasionally must have arguably struck a reader as being somewhat overly cartoonish in its execution, especially whenever the California-born illustrator sketches actor Jonathan Frakes’ character or imbues Data with one of the android’s more ‘human’ facial expressions. Such stylistic quibbles however, are rather minor in the grand scheme of things, as the professional digital artist indubitably provides this comic book with a thoroughly enjoyable pace, courtesy of his speedy story-boarding and dynamically-drawn figures, as well as an ability to depict a seriously dilapidated spaceship, complete with wrecked “junction blockers”, numerous corpses, and buckets of blood splatters.  

Undoubtedly disconcertingly dimmer though, is this magazine’s secondary tale “Ripe For Plunder”, which being set “months earlier, and an alternate universe away” supposedly establishes a precursory plot involving Doctor Noonian Soong’s creation searching the Terran records keeping repository “for all the information you can supply me on the life and times of Emperor Spock.” Essentially little more than a carousel of planetary visits and unheard conversations with some of the viciously violent galaxy’s more nefarious information dealers, this four-page short can’t sadly even be saved by J.K.Woodward’s paintings...

Writers: David Tipton & Scott Tipton, and Artist: Chris Johnson

Delta 13 #1 - IDW Publishing

DELTA 13 No. 1, May 2018

Following the claustrophobically cramped exploits of “a small crew of blue-collar workers” as they survey chunks of rock for the Home Office in "the Belt", it is almost impossibly hard for anyone who is familiar with Twentieth Century Fox’s “epic science-fiction horror media franchise”, “Aliens”, not to subliminally hear composer Jerry Goldsmith’s Alien Suite in their heads whilst reading this comic. For though little in the way of action or horror actually takes place within this “IDW Publishing” title’s opening instalment, Steven Niles’ narrative for Issue One of “Delta 13” undoubtedly captures all the tension and atmosphere of Ridley Scott’s first critically acclaimed film by presenting a seemingly bored band of ship-mates dutifully going about their day-to-day business in deep space before encountering “a mysterious, huge, and previously undiscovered asteroid…”

Indeed, the New Jersey-born writer’s treatment for this twenty-page periodical is so adept at imitating the palpably jaded ambience on board the USCSS Nostromo, that every time a computer screen sputters into life within this publication and subsequently throws its user’s face into sharp relief on account of its glowing screen glare, one can simultaneously recall the M-Class star-freighter’s iconic-sounding boot-up sequence and computer interface clicks; “Guys, I’m getting some strange readings over here. I’m getting something which shouldn’t be there – namely heat signatures.”

Ordinarily, such parallels to so obvious a big ‘silver screen’ influence might draw some criticism regarding the American author’s script lacking any of its own innovative originality, especially as the vast majority of its plot remains firmly housed within the confines of the spaceship’s sedentary cockpit. However, that simply isn’t the case on this occasion, as the tiny survey vessel inevitably steers clear of Dan O’Bannon’s screenplay by losing itself within one of the planetoid’s many tunnels rather than “going… smack right into it” and discovers an artificially built “wall of some kind” buried deep beneath the surface. In fact, if anything, Niles’ reverential replication of the commercial towing vehicle’s vibes actually adds to his enthralling, increasingly taut tale involving “a terrifying threat unlike anything they’ve ever seen.”

Regrettably, such praise cannot arguably be similarly heaped upon the artwork of Nat Jones, whose scratchy, somewhat uncontrolled pencilling style debatably imbues many panels with a tangibly unfinished feel, as if the one-time Instructor at the Guru Digital Arts College ran out of time to do anything more than provide rough storyboards for the comic. Admittedly, there can be no doubt that the “Hope: New Orleans” colourist conjures up a tremendously formidably-looming asteroid for this book’s cast to confront, but some bibliophiles will undoubtedly wonder just how much better this magazine might have looked had its creator instead utilised the skills of his “frequent… collaborator Ben Templesmith.”

Writer: Steve Niles, Artist: Nat Jones, and Letterer: Tom B. Long

Moon Knight #194 - Marvel Comics

MOON KNIGHT No. 194, June 2018

Disconcertingly billed as being “the true origin of Marc Spector”, this particularly darkly-themed twenty-page periodical must have proved something of a troubling read for a significant portion of its 23,097-strong audience by exploring the titular character’s desire to be someone else simply “because then I wouldn’t be Jewish.” Of course, this rather worrying anti-sematic statement against Judaism is eventually explained away as being little more than an adverse reaction to a young boy’s entanglement with a disguised, mass-murdering Nazi war criminal, rather than Max Bemis irresponsibly warping Moon Knight into being inexplicably discriminatory against his religious upbringing.

Yet even so, there is such a lengthy delay in this comic’s narrative until the true motivator behind such a prejudicial stance is exposed, that for quite a while it genuinely appears that the lead singer’s attempt to pen a “dark, Coen brothers-type comedy” has badly missed it mark... A situation which frankly is not helped either by Ty Templeton pencilling a pair of ‘disturbing’ panels depicting the former West Coast Avenger giving the thumbs up as Moses destroys the original ten commandments and then ridiculously perching atop a tower block’s gargoyle wearing an instantly recognisable Jewish high-crowned hat…

Ultimately however, the primary composer’s script for Issue One Hundred And Ninety Four of “Moon Knight” does make it clear that the Fist of Khonshu seemingly blames his “dissociative identity disorder” upon his devotion to Judaism because it brought him into contact with “Uncle Yitz”, an apparently friendly, well-educated and caring rabbi who eventually reveals himself to actually be part of a cabal who went on to create “the Red Skull”, as well as “clone Hitler into the Hate-Monger.” This horrific, sadistically bloody encounter beneath the supposedly safe synagogue has an understandably detrimental effect upon the boy’s mental health, and coupled with his father’s own psychological issues, actually provides a pretty sound rationale as to why the ex-mercenary’s “brain… found a wacky way to deal with being scared.”

Indeed, as pointed out by Jake Thomas in this publication’s Letters Page, Bemis’ “last few pages… [provide] a real gut punch” as Spector shockingly discovers the elderly teacher of Torah torturing a nearly-dead boy “hanging from the ceiling” in Ernst’s secret dungeon, and realises that he will be next if he doesn’t somehow escape the vile serial killer’s clutches immediately. Admittedly, Templeton’s storyboarding for this sequence is arguably not quite the “absolutely stellar job” which this book’s editor seems to think it is, but the Canadian cartoonist’s attention to gore splatters, dripping droplets and numerous bladed instruments of pain, genuinely imbues the entire catacomb with an unhealthy atmosphere of barbarous savagery, pain and anguish; “none of this should frighten you more than what we accomplished together as a nation, less than a century ago.”

Writer: Max Bemis, Artist: Ty Templeton, and Colorist: Keiren Smith

DC Nation #0 - DC Comics

DC NATION No. 0, July 2018

Despite this “Free Comic Book Day” magazine featuring three “prelude[s] to some of the biggest DC events of 2018”, as well as arguably the definitive “line-up of superstar talent” currently at the California-based publishers, it was probably still something of a surprise to many that Dan DiDio was able to reveal that Issue Zero of “DC Nation” had ‘sold’ one million copies in pre-orders before it even hit the newsstands in May 2018. Indeed, at the time, this title actually looked set to spearhead a serious “DC Comics” drive with perusing bibliophiles everywhere, courtesy of the co-publisher additionally announcing that his company’s Superman eightieth anniversary anthology “Action Comics” #1000 had incredibly also received pre-orders for half a million copies; a staggering achievement considering that the best-selling publication of 2017, at least according to “Diamond Comic Distributors”, was the 305,427 unit shifting “Marvel Legacy”…

Fortunately however, this twenty-four page periodical is not just over-hyped hyperbole, as there’s plenty of ‘bang for its buck’ inside the twenty-five cent costing cover, with Tom King’s excellent script for “Your Big Day” undoubtedly being worth the book’s price alone. Focussing purely upon the Clown Prince of Crime and his latest hapless victim, Roger Martello, this highly emotive ‘short’ is packed full of tension and jeopardy as the Joker unrealistically waits for an invitation to Batman’s wedding, whilst all the time relentlessly torturing the nerves of his petrified hostage; “I can’t… Just… Do it. Sitting here, waiting. Do it now. Kill me.”

Slightly more action-orientated, at least during its fleeting flash-backs to Superman triumphing over a group of Costa-Rican arms dealers who have erroneously decided to “sell old Lexcorp tech”, is Brian Michael Bendis’ somewhat unsuccessful script for “Office Space”. Dialogue-driven, and resultantly overly-wordy, this forerunner to the writer’s “Man Of Steel” six-issue mini-series is arguably the most disappointing preamble of the piece, as it predominantly just depicts a disagreeably heated conversation between Clark Kent and Perry White in the newspaper offices of the Daily Planet.

Lastly, Scott Snyder’s pulse-pounding preface to “Justice League: No Justice”, scintillatingly sense-shattering and gloriously pencilled by “all-star artist” Jorge Jimenez, undoubtedly brings this anthology to a stunning conclusion with its simply mind-blowing cast of characters and battle-sequences. Absolutely stuffed full of some of “DC Comics” greatest heroes and villains, all of which are amazingly fighting side-by-side against the common threat of the formidable-sounding Omega Titans, this dynamically-charged extravaganza completely captivates and arguably leaves the reader wanting so very much more once its gobsmackingly good cliff-hanger featuring Super-Girl and Green Arrow drops…

Writers: Tom King, Brian Michael Bendis, and Scott Snyder, James Tynion IV & Joshua Williamson

Geek-Girl #1 - Markosia Enterprises

GEEK-GIRL No. 1, June 2018

Proudly publicised as “There’s A New Geek in Town” by creator Sam Johnson, this opening instalment to the comic’s “Crime War” story-arc strongly builds upon the cast and situations initially introduced in the mini-series’ ‘first run’ by replacing Ruby Kaye as the titular character with Little Miss Popular’s best friend, Summer James, and depicting the “less shallow” fashion student’s disconcerting difficulties as a rookie crime-fighter. Indeed, as inaugural missions go, the super-hero ‘funny-book fan’ performs quite dismally, by first accidentally ploughing a simple street-thief straight through the glass window of a local hardware store, and then mere moments later, being completely outfoxed by a dapperly-dressed villain known as the Cad, whose only significant power is that he can supposedly “#$*% with girls’ heads.”

Admittedly, such an inauspicious start to the new Geek-Girl’s career as a bespectacled vigilante certainly provides plenty of bang for one’s buck, even during Pit-Bull’s sedentary still, brutally frank debrief as to his opinion of the young woman’s performance against the “D-Lister” and his “mind thing”. But disappointingly what then follows is arguably far less enthralling, as “the rest of Ruby’s clique” spend three-pages behaving in a thoroughly objectionable manner around the comatose heroine’s hospital bed cracking inappropriate jokes, and Summer seeks some semblance of solace in the company of diner dish-washer Mariella by regurgitating the plot’s main premise once again; “Remember how all this started --? You wanted to get Trevor Goldstein interested -- so you could take his geeky teach-glasses, that they said give super-powers...”

Of course, these dialogue-heavy, rather wearisomely wordy conversations are intermixed by the writer cleverly focussing upon the exploits of Maine’s “new-crooks-on-block The League of Larcenists” and their first somewhat heavy-handed, aggressive robbery at Acorn Ridge’s bank. Yet even the masked men’s cold-blooded threat for the stockpile staff to “get those shutters back open or we’re gonna shoot everyone in here”, plus their van’s subsequent shocking teleportation back to the aspiring criminal’s secret lair isn’t quite enough to fully reinvigorate a narrative which gets a little too bogged down in adolescents feeling “about as welcome as a turd in a swimming pool.” 

Correspondingly as inconsistent as this publication’s penmanship is arguably Carlos Granda’s artwork. The Colombian’s ability to draw dynamically-charged panels pumped full of animated life is vividly evident right at the very beginning of this book, courtesy of a single splash-page showing the klutzy buxom brunette showering a shop full of hapless customers with glass as she careens through the retail establishment’s entranceway. So just why he then later draws Pit Bull wearing such an amateurishly pencilled, clunky-looking costume as he does is disconcertingly bewildering..?

Writer: Sam Johnson, Artist: Carlos Granda, and Colorist: Chunlin Zhao