Star Trek: Deep Space Nine - Too Long A Sacrifice #4 - IDW Publishing

STAR TREK: DEEP SPACE NINE - TOO LONG A SACRIFICE No. 4, October 2020

Despite arguably containing a fair few red herrings, some brutal fisticuffs and sizzling phaser beams, it is still pretty unlikely that Scott and David Tipton’s supposedly “shocking conclusion” to this murder-mystery mini-series convinced the most recent generation of Trekkies to seek out the old televised adventures of Constable Odo and his crewmates aboard Deep Space Nine. For whilst this twenty-page periodical’s padded out plot provides the Starfleet station’s Chief of Security plenty of spotlight within which to demonstrate his formidable detective skills, the Federation facility’s cold-hearted serial-killer is eventually only seemingly caught because they’re foolish enough to get close to a telepath.

Indeed, if anything the brothers’ narrative for Issue Four of “Star Trek: Deep Space Nine – Too Long A Sacrifice” depicts a hard-learnt lesson in how not to lead an investigation into multiple homicides during the Twenty-Fourth Century, as elderly mind-reader Detective Retlaw incompetently lurches from pillar to post before wrongly accusing one “of the most powerful and well connected people on the station.” To make matters worse though, the ordinarily fastidious Odo is no less ineffectual, and even bumbles the arrest of the terror suspect when the lone diner-owner takes on his technology advanced armed guards whilst carrying no more than a small kitchen knife; “Your security team won’t be enough. We’re going to need more help.”

Perhaps this publication’s biggest disappointment however, is the way in which all of the puzzle’s links are pulled together without there ever being a hope of the comic’s readers snatching hold of a clue themselves and even remotely suspecting who the psychopathic slayer might be. True, the elderly Betazoid’s explanation as to what he read in the murderer’s mind makes some sense, but it’s hard to stomach a ‘miss-mash’ of disconcerting contrivances, such as Lavin Meryn wooing a Starfleet officer in order to ensure he betrayed his allegiance, simply because she was uppity with a fellow Bajoran who during the Cardassian occupation played them against the Ferengi “to line his own pockets and earn himself a softer bed.”

Luckily, artist Greg Scott does provide this book with some enjoyable artwork from time to time, with his ability to project Retlaw’s emotions upon the character’s aged face being one of this magazine’s highlights. In fact, it’s a real pity that the Tiptons’ script didn’t include a bit more action, as the artist seems to hit a prodigious stride with his pencilling once Lavin takes flight and the pace of his layouts really hammers home the sheer desperation in her insane machinations.

Writers: Scott Tipton & David Tipton, Artist: Greg Scott, and Colorist by: Felipe Sobreiro

Iron Man [2020] #3 - Marvel Comics

IRON MAN No. 3, January 2021

If Christopher Cantwell’s aim for Issue Three of “Iron Man” was to depict a truly despicable Tony Stark desperately trying to find a place within an equally detestable world, then the American producer almost certainly succeeds with “The Land Wherein Thou Art A Stranger.” Indeed, it is hard to imagine a less depressing twenty-page periodical than this particular publication, where the billionaire industrialist lurches from punch-up to punch-up, becoming increasingly irate that the general public don’t seem to “see how strong I am”, fail to understand “what I am capable of”, and are apparently all-too “blind” to his universal greatness.

Admittedly, in the past the Golden Avenger has often proven somewhat difficult to root for due to his overwhelming ego and sheer arrogance. But in this instance, Cantwell actually asks his audience to believe that Shell-head would purposely fly an unconscious Melter up above the city skyline, simply to then lethally drop and subsequently save the villain at the last minute in an effort to show his critics just how all-powerful the supposed super-hero apparently is; “I dunno, you were talking about, um… don’t have to play by our rules… and… whether we should thank you for being Iron Man…”

Unfortunately, the Chicago-born writer also seems intent on destroying Hellcat’s character as well, portraying the Defender as some sort of suicidal has-been who is literally “walking a razor’s edge” between taking her own life and fighting crime every second of the day. There’s no doubt that Patsy Walker has had her fair share of emotional rollercoasters since first appearing in the Marvel universe way back in 1944, and ‘working her way back from being dead’ has clearly taken its toll. However, it is difficult to imagine the former occult investigator persistently experiencing such dark thoughts now she is (supposedly) free of Daimon Hellstrom’s demonic influence.

Disappointingly, this comic’s quite significant cast of supporting villains don’t fare too well either, with the likes of the Gladiator, Madame Masque and the aforementioned Melter, all simply being penned as some sort of short-lived ‘comedic relief’. Bruno Horgan’s successor is arguably especially poorly served by this book’s script, with the former member of the All-New Sinister Six apparently tracking down Stark’s Lower East Side home just so he can melt his arch-nemesis’ car into bubbling scrap and make Tony mad at him.

The regular cover art of "IRON MAN" #3 by Alex Ross

Star Trek: Year Five #16 - IDW Publishing

STAR TREK: YEAR FIVE No. 16, October 2020

On paper the prospect of publishing a twenty-page periodical featuring Gary Seven and Harcourt Fenton Mudd battling James Tiberius Kirk probably looked like a sound investment of creative talent, with both Sixties-based characters still proving incredibly popular with the science fiction franchise’s fanbase to this day. But disappointingly, Jody Houser’s decision to crowbar the pair into a narrative supposedly depicting just how scintillating an election season can be, isn’t arguably the place for either of the ‘antagonists’ to demonstrate just why they still hold a place within a Trekkies’ heart some six decades after they originally appeared on the small screen.

For starters, the thought of Harry rising to the top of the Federation Presidential polls is utterly “ridiculous”, especially when such a notorious conman’s extensive criminal past is well-known to both his Andorian sponsors and the electorate. Arguably, this premise alone ruins any sense of credibility to a narrative which already heavily relies upon its readers’ willingness to suspend disbelief, and is made all the more unbelievable when the Originalist movement reveal that they were so desperate to identify a so-called “suitable candidate” before the election’s imminent deadline that they just exonerated the swindler for all his past dark deeds.

Disappointingly, Mister Seven’s involvement in this particular storyline isn’t much more convincing either with the mysterious “laddybuck” disconcertingly wanting Mudd to win the galaxy-wide election in order to help him somehow bring Starfleet to a violent end. Sadly, the writer’s room for “Star Trek: Year Five” seem intent on transforming Supervisor 194 into some sort of omnipotent busybody, who suddenly appears to be more a sworn foe of the U.S.S. Enterprise’s captain than the likes of Khan Noonien Singh ever was, and as a result Kirk’s former friend frustratingly jars in every panel in which he appears; “Let’s just say that there are… pieces in motion far larger than either you or I. It’s my job to ensure that they stay in motion. Distractions, chaos… these will serve my masters’ purposes.”

Ultimately however, this comic’s biggest anti-climax is in how Scotty thwarts Harcourt’s real plan to steal as much sensitive technological data as he can from the Andorians by simply sweet-talking the smuggler’s female robot companion into telling him the truth. Such a lack-lustre finale beggars belief and comes across as being as contrived a conclusion as Spock inexplicably appearing from inside Mudd’s small space shuttle just in the nick of time to pinch the rogue on the neck before he can depart the moon with a hostage.

Writer: Jody Houser, Artist: Silvia Califano, and Colorist: Charlie Kirchoff

The Immortal Hulk #39 - Marvel Comics

IMMORTAL HULK No. 39, December 2020

There’s quite clearly some sort of protracted plot lurking beneath the surface of Al Ewing’s penmanship for Issue Thirty Nine of “Immortal Hulk”, and for a significant portion of this twenty-page periodical it would seem not to be going in the Leader’s favour. In fact, for a few fleeting moments it very much appears that Samuel Sterns is about to be utterly devoured by the frenzied Devil Hulk inside Bruce Banner’s mindscape, despite the super-villain somehow managing to inhabit the psyche of Green Scar; “Ha! Beg some more, Sterns! I love it! Ain’t it great? C’mon, Snake Eyes! Take him! Kill him!”

Disconcertingly however, the green-skinned criminal mastermind eventually manages to gather his wicked wits in order to shockingly tear off his monstrous opponent’s head and accompanying spinal cord with a blood-wrenching effort. This truly gratuitous fatal fighting manoeuvre is then further emphasised by a suddenly strangely, insectoid-looking Leader, almost nonchalantly ripping the already dying creature’s gurgling heart into gory pieces with one of his multi-tentacled pincers.

Such violent savagery really could be viewed as being a tad unsettling, but seems to be the sole motivation behind this comic’s storyline as the British writer leaps from weird set-piece to set-piece simply to show members of the cast being horribly mutilated or satanically tortured. Indeed, even Brian Banner’s demise at the beginning of this book isn’t for the faint-hearted, as Sterns apparently needs to ‘physically’ suck the man’s innards out through his head so as to better digest the doctor’s “genius, violent paranoia, [and] just a hint of narcissism…”

Positively emboldened by this disturbing journey down into the very bowels of bodily mutilation is Joe Bennett’s pencilling, which seems to go to incredible lengths to show how utterly despicable the Leader has become in his vile quest to control the Hulk once and for all. Faces splitting open to reveal snaking mouths lined with a vast array of sharp teeth, anguished heads haplessly peeking out from inside the throat of their foes, and sightless eye sockets being speared by writhing brain-branches are simply the tip of the iceberg for the Brazilian artist’s spine-chilling contribution to this comic. Yet little of these layouts will arguably help the reader actually understand precisely what is going on within the narrative.

The regular cover art of "IMMORTAL HULK" No. 39 by Alex Ross

Dune: House Atreides #1 - BOOM! Studios

DUNE: HOUSE ATREIDES No. 1, October 2020

As official prequels go to Nebula Award-winning novels, Brian Herbert and Kevin J. Anderson’s narrative for Issue One of “Dune: House Atreides” most likely pleased the vast majority of the science fiction franchise’s fanbase in October 2020, with its intriguing combination of familiar figures in their apparent prime and the introduction of several fresh, innovative characters. Indeed, having been only briefly mentioned “in the appendices of the original Dune” this twenty-two periodical provides a fascinating insight into the Kaitain courtroom of Padishah Emperor Elrood Corrino IX, and his dealings with the likes of Imperial Planetologist Pardot Kynes and the much less likeable Earl Dominic Vernius of Ix.

However, such a successful amalgamation of the old with the new isn’t simply limited to the capital world of the Imperium. But is actually used to treat this comic’s audience to some fascinating foretastes of the events upon both Arrakis and Caladan as well, with an adolescent Leto Atreides debatably seizing the lion’s share of the spotlight as his daily duties at the theatre, Castle Caladan and the Colosseum-like Plaza de Toros are documented in detail; “One of my grand bullfights! Something the people will never forget! It is the old-fashioned extravaganza you deserve, Leto.”

Interestingly though, it is arguably this publication’s opening sequence, focusing upon the Baron Harkonnen’s exploits on a certain desert planet, which prove the most memorable, as the newly appointed Siridar Governor inspects his men’s collection process of the spice Melange. Packed full of the grandiose machinery such a large scale mining operation would require, this visit is made all the more impactive when the site is struck by a cataclysmic chemical reaction that threatens to bring Vladimir’s planetary reign to an abrupt end if not for the quick-thinking and piloting skills of Kryubi.

Ably assisting this comic’s collaborative writing team in their story-telling are Dev Pramanik’s layouts and Alex Guimaraes’ colours. The Indian artist’s pencils do a fantastic job of depicting the sheer size of “the known universe” which Frank Herbert created. Whilst the Brazilian’s choice of palettes for the different homeworlds provides each fiefdom with its own unique atmosphere, especially Kaitain with all its regal purples and royal turquoise.

Written by: Brian Herbert & Kevin J. Anderson, and Illustrated by: Dev Pramanik

Maestro #1 - Marvel Comics

MAESTRO No. 1, October 2020

Billed by “Marvel Worldwide” as a story “you’ve waited decades for”, Peter David’s opening narrative explaining the origin of Maestro probably had a fair few of its readers rather worried when they were initially faced with Doctor Banner single-handedly whumping a party of Sentinels whilst the likes of Thor, Captain America and Wolverine impotently watched on. Indeed, the opening third of this thirty-page periodical arguably plays out like the worst sort of fan fiction, as a ‘house-trained’ Hulk sits at the dining table with his beloved wife and two playful children, talking about just how good life has become; “Thaddeus” Rick” Stop running and sit down! Dinner’s getting cold!”

Fortunately though, this comic’s plot takes a decidedly darker turn once Bruce deduces he’s actually in a computer life simulation, and angrily defeats the Avengers when they try to convince him that the super-villain Mysterio has somehow gotten into his mind. Fully-bearded, with long lank hair, a befuddled Hulk finds himself buried deep underground in an impoverished A.I.M. facility, and slowly starts to understand that he has been kept in suspended animation for several decades along with the likes of his old antagonists Vapor and the Abomination.

All these intriguing revelations are quite wonderfully drip-fed to the audience by the GLAAD Media Award winner as the titular character discovers them, and resultantly the plot pans out as if both the bibliophile and Banner were exploring their dilapidated surroundings together. Delightfully, this sense of a ‘shared experience’ is then subsequently increased when an elderly M.O.D.O.K. (Mental/Mobile/Mechanized Organism Designed Only for Killing) appears to explain that the subterranean shelter houses some of the sole survivors of a combined World War Three nuclear holocaust and genocidal terrorist campaign by the Black Scythe, who must wait another twenty seven years before the “radiation will decrease sufficiently…”

Adding enormously to this publication’s successful story-telling are artists Dale Keown and German Peralta, whose decidedly contrasting styles really help separate Banner’s simulated world of supposed marital bliss with that of the grim and disconcertingly destitute future. In fact, Peralta’s pencilling in particular proves incredibly effective in putting across both the grubbiness and decay of M.O.D.O.K.’s fast-failing facility, as well as the dawning horror of the Hulk’s real life predicament.

The regular cover art of "MAESTRO" No. 1 by Dale Keown & Jason Keith (After Kirby)

Batman: The Adventures Continue #9 - DC Comics

BATMAN: THE ADVENTURES CONTINUE No. 9, July 2020

Considering the controversy “DC Comics” caused back in the Mid-Eighties when Jason Todd’s origin was revamped from being the offspring of circus acrobats to a “young street orphan who first encounters Batman while attempting to steal the tires off the Batmobile in Crime Alley”, many readers of “Red Son Rising” may well have been a little nervous of Alan Burnett and Paul Dini’s efforts to incorporate the character into the “Batman: The Animated Series” continuity they created for “Fox Kids”. Indeed, the writers’ decision to additionally amalgamate some elements of the Joker’s criminal past as the mysterious Red Hood into the pot in order to provide the gung-ho kid vigilante with some additional motivation, could easily have concocted an unpalatable recipe for disaster.

Fortunately though, this digital first publication arguably does a very good job of making such a mishmash of plot lines work out for the best, with the death of Todd’s older brother whilst acting as a red-hooded lookout for the Wolves street gang, providing the Dark Knight’s protégé with plenty of reasons as to just why he became such a viciously formidable and savagely head-strong costumed crime-fighter; “I must admit, however, that his energy and skills were amazing. Such unfettered ferocity! He was to my eye the very equal of Master Dick at his age. Still, there were signs.”

Debatably this comic’s greatest moment however, has to be its inclusion of the Joker and the Clown Prince of Crime’s mysteriously super-strong minion, Straightman. The relationship between Todd and the Caped Crusader’s white-faced nemesis has always been tense following the fatal finale of Jim Starlin’s “A Death In The Family” storyline, and Issue Nine of “Batman: The Adventures Continue” quickly hints at the tension between the two adversaries when Jason unwisely decides to do a spot of “recon on the Clown” in order to scope “out his movements and any backup he’s got.”

Likewise, the former Robin’s skirmish upon a Whacky Wheel funfair ride with the Joker’s genetically enhanced soldier, is a visual tour-de-force by artist Ty Templeton and colourist Monica Kubina, with the action sequence being packed full of both feats of incredible strength, as well as a well-placed hand-grenade. In fact, these pulse-pounding panels are only let down by the scene’s brevity, and the slightly bizarre response of the deranged psychopath to flee the battle in a bumper car despite having a dazed Jason at his mercy, buried beneath the remnants of a shattered shooting gallery stall.

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