Black Widow #3 - Marvel Comics

BLACK WIDOW No. 3, January 2021

It must have been hard for the vast majority of this comic’s audience not to side with the Weeping Lion when he angrily points out to the rest of his criminal co-conspirators that their plan to permanently side-line Natasha Romanoff by making her “permanently happy… in her own personal paradise” is an anathema of a plot. Indeed, the notion that such notorious super-villains as Madame Hydra, Arcade and the Red Guardian would invest such “considerable trouble and expense” for such an outlandish method of ‘removing’ the titular character from interfering with their future immoral machinations is arguably preposterous.

However, that is precisely what Kelly Thompson would have this twenty-page periodical’s readers believe when the Eisner Award-nominee reveals mid-way through the book that the “architect named Natalie in San Francisco with a fiancé and a beautiful baby boy” is nothing more than a brain-washed Black Widow, who has been duped by the Viper simply so the ex-Soviet spy won’t interfere with the unlawful operations of her biggest arch-nemesis; “I’m not an idiot. I have big things coming and I want her off the board. She’s been so damn happy that she’s been out of the game for months.”

Fortunately, the Weeping Lion quickly makes it clear that he has taken matters into his own hands to ensure that such a surreal scheme doesn’t last much longer, by covertly ordering Romanoff’s immediate death courtesy of some knife-wielding hitmen. Such decisive action by the balaclava-wearing Yugoslavian kingpin instantly restores some sensibility to the publication’s narrative, and transforms Natasha’s night-time arrival at her disconcertingly deserted home into a thrill-a-minute experience packed full of pulse-pounding pugilism and acrobatic mayhem.

Helping this sudden and quite considerable change of pace along is artist Elena Casagrande, whose pencilling of the Black Widow somersaulting her way through a goon-packed kitchen is an absolute joy to behold. Deadly with both a handy coat-hanger, everyday carving knife and energy-efficient kettle, the double-splash illustration is undoubtedly the highlight of the book and once again demonstrates just how formidable a fighter the former S.H.I.E.L.D. agent can be when confronting non-powered combatants like Platch Liev’s henchmen.

The regular cover art of "BLACK WIDOW" #3 by Adam Hughes

Strange Academy #1 - Marvel Comics

STRANGE ACADEMY No. 1, November 2020

Absolutely crammed full of all manner of new characters and numerous guest-star cameos, Skottie Young’s script for Issue One of “Strange Academy” could easily have overwhelmed its 71,039 strong audience when it first hit the spinner racks in March 2020. But mercifully, the Illinois-born writer does such a terrific job of presenting “the very first class attending Strange Academy” in a semi-piecemeal fashion, that the comic’s considerable cast actually proves to be one of the thirty-page periodical’s biggest draws rather than a meaningless parade of non-relatable protégé sorcerers, demons and frost giants.

For starters, the publication initially just purely focuses upon the magical awakening of Emily Bright, and the Midwestern girl’s rather dramatic initial meeting with Zelma Stanton. This combination of a new wannabe wizard and the much more familiar librarian from the Bronx arguably proves a great way to meet the title’s lead protagonist, whilst simultaneously exploring the enormous estates of Stephen Strange’s vast educational facility buried deep within the hustle and bustle of Bourbon Street in New Orleans; “There are many ways to access the grounds, but today we’re just going in through the front gates.”

Similarly as well-penned are the introductions of the haughty Iric and Alvi of Asgard, Doyle – the Lord of the Dark Dimension’s son, and the super-energetic pink-coloured fairy Shaylee. All of these magic users are immediately blessed with plenty of personality straight from the ‘get-go’, and some of their fractious relationships with one another bode very well for future frictions. Indeed, Zelma’s insistence that Iric become room-mates with the satanic-headed offspring of Dormammu promises plenty of adventures to come, especially after the arrogant Asgardian immediately attacks the “evil minion” upon first setting eyes upon him.

Furthermore, Humberto Ramos’ sensational layouts really go a long way to selling the sheer size of Strange Academy’s amenities, staff and students to this comic’s readers. The Mexican artist’s ability to imbue every character with an individualism all of their own is breath-taking, as is his pencilling of Doctor Strange’s sudden appearance towards the end of this book, when the Sorcerer Supreme requires the assistance of his new pupils to help him battle a multi-tentacled Throzil.

The regular cover art of "STRANGE ACADEMY" #1 by Humberto Ramos & Edgar Delgado

Geek-Girl #7 - Markosia Enterprises

GEEK-GIRL No. 7, September 2020

Focusing heavily upon some of the party games taking place at “fancy dress club nite Freakee Kiki’s”, this twenty-one page periodical’s plot arguably does a good job in highlighting the animosity bubbling beneath the surface between Ruby Kaye and her so-called friends Karin, Stacey and Jennifer. Indeed, straight from this comic’s opening, when the Maine College student shows her new team-mate The Minger a selfie of the three girls dressed as “the super-bitches”, it is clear that an evening packed full of over-indulgent alcoholic drinking and somewhat bizarre circus contests is probably not going to go all that well for the super-hero.

Of course, that isn’t to say that the self-centred trio don’t deserve everything Kaye later verbally gives them, considering that one of their group comes purposely dressed as Ruby’s arch-nemesis with the intention of having “some fun in the Feats of Strength” challenge, and another is simply rude towards poor Summer James for apparently having the audacity to be wearing Geek-Girl’s costume. But by the end of the night’s Airing of Grievances it seems reasonably clear that both Karin and Stacey are undoubtedly going to plan some sort of revenge upon their drunk “girl-friend” after she falsely accuses them of grabbing her pair of “power-inducing super-tech glasses” in front of a packed night club audience; “-- That stuff about slapping her, that wasn’t her. It was that Monster Guy’s fake Karin. Now they’ll really think I’m crazy…”

However, for those readers more interested in entrepreneur Johnny Carlyle’s creation of The Kaye Foundation than the titular character’s increasingly poor relationship with her college companions, Sam Johnson’s script for Issue Seven of “Geek-Girl” does still include a brief look at Digger Mensch’s equally poor rapport with his downright shady criminal chums. Badly hung over following his own bout of binge-drinking at some less than salubrious underground venue, the mechanically-limbed builder is less than impressed when he wakes to find one of his unsavoury associates has defaced his shirt whilst he slept, and having taken his revenge upon the semi-conscious vandal suddenly seems potentially destined to turn his back upon his felonious past for good.

The regular cover art of "GEEK-GIRL" No. 7 by Jason Hehir & Chunlin Zao

Maestro #2 - Marvel Comics

MAESTRO No. 2, November 2020

As origin stories go, especially one purported to cover that of the incredible Hulk’s greatest foe, Issue Two of “Maestro” probably left many within its 33,000 strong audience somewhat bemused and perturbed. True, Peter David’s seventeen-page plot features some excellent cameos from the likes of Machine Man, Rick Jones and Hercules. But such notable ‘guest appearances’ are arguably drowned out in a seemingly endless carousel of crater-filled new locations, instantly forgetful supporting cast characters and an utterly bizarre attack by a swarm of super-hungry cockroaches which apparently would’ve eaten Bruce Banner’s alter-ego alive if not for a conveniently placed sonic wave cannon.

Indeed, the vast majority of this comic’s narrative seems to simply depict the green giant aimlessly wandering from destitute underground complex to farming settlement on a continent surprisingly packed full of life for a country supposedly wiped out by both bombs and plague; “We call ourselves the Wasteland Survivalists. We are endeavouring to restore nutrients to the ground in order to grow crops.” Disappointingly, these rather choppily-written meanderings start off so well too, with a demoralised Hulk thoughtfully taking stock of his depressing situation upon a partially-destroyed Mount Rushmore before disconcertingly discovering Aaron Stack’s secret bunker hidden beneath the remnants of the nation’s capital.

Happily however, despite the somewhat haphazard nature of its storytelling, German Peralta’s pencilling undoubtedly helps lift this comic’s readability courtesy of some extraordinary landscapes and the aforementioned dynamically-drawn attack of the killer insects. Hoover Dam, Las Vegas and the Lincoln Memorial are all superbly sketched in various states of decay, and it’s resultantly easy to see just why David stated prior to the mini-series’ launch that he felt the artist had “the perfect style, very dark and post-apocalyptic.”

Perhaps this publication’s most intriguing element though, is the quite delightful three-page tale “Relics”, which is stuck at the very back of the book. Featuring an adolescent Janis Jones and Dakord, the ‘short’ depicts the diminutive duo locating Thor’s hammer amidst the wreckage of Avengers Mansion, and rather enjoyably demonstrates that much to an elderly Rick’s utter exasperation, one of the fledgling Anti-Maestro Freedom Fighters is actually worthy to wield Mjölnir.

The regular cover art of "MAESTRO" No. 2 by Dale Keown & Jason Keith

Star Wars: Bounty Hunters #5 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 5, November 2020

Publicised by “Marvel Worldwide” as the “battle of the bounty hunters”, Ethan Sacks’ narrative for “The High Cost of Revenge” surely lived up to its hype upon its release in September 2020 with its vicious struggle between Boba Fett and Beilert Valance. Indeed, the pair’s dramatic tussle over Nakano Lash’s life is the highlight of this twenty-page periodical, as both mercenaries ‘get up close and personal’ with one another, courtesy of some bone-crunching punches, kicks and the odd built-in bioenergy disrupter.

However, rather than simply settle upon a comic-long bout of fisticuffs between two of the Star Wars franchise’s most recognisable fugitive recovery agents, the comic book writer also probably pleased this title’s 27,000 fans by intermixing all of its high-octane action with some fascinating insights into the background behind Lash’s notorious killing of her client “the heir of the Mourner’s Wail Syndicate”. These flashbacks really are a joy to read, as they not only reveal just how Nakano’s crewman T’ongor was killed by a misdirected blaster bolt from Fett, but also illustrates just why Jango’s clone and Valance detest each other so strongly after the Mandalorian armour-wearing warrior deserts his team-mate to be savagely tortured; “You Fool! You’ve doomed us both.”

Equally as intriguing though is Sacks’ sadly all-too fleeting look at how Nakano became orphaned on Glee Anslem by an extremist, and just how much this loss strengthened the Nautolan’s determination to ensure Khamus’ child was kept safe from a galaxy which would clearly do the young girl harm. In addition, the similarities between the harrowing murder of Lash’s hapless parents whilst her “mom” is heavily pregnant with that of Krynthia’s fatal predicament on Corellia, makes the bounty hunter's sudden decision to kill Khamus much more understandable. 

Of course, much of this book’s dynamic story-telling wouldn't be quite so impactive if not for the energetic layouts of penciller Paolo Villanelli and colorist Arif Prianto. The artistic duo genuinely imbue each scene with incredible vitality, whether it be Lash’s swollen-bellied mother desperately shoving her daughter’s would-be attacker to one side or Fett belting Valance in the chops with a jet-pack powered “Whump”.

The regular cover art of "STAR WARS: BOUNTY HUNTERS" #5 by Lee Bermejo

Dune: House Atreides #2 - BOOM! Studios

DUNE: HOUSE ATREIDES No. 2, November 2020

Somewhat strangely focusing upon House Harkonnen rather than its titular family, Brian Herbert and Kevin J. Anderson’s storyline for Issue Two of “Dune: House Atreides” must nonetheless have provided its fans with a healthy dose of exciting endangerment and enthralling intrigue. In fact, arguably the highlight of this “newest release from BOOM! Studios’ eponymous imprint” is the detailed depiction of Rabban’s frightening attempt to bring down one of the mighty sandworms on Arrakis, rather than the comic’s somewhat matter-of-fact portrayal of young Leto slowly making planet fall on Ix; “We have delivered your belongings here. The shuttle will take you to the surface. We thank House Atreides for your patronage…”

However, for those within this book’s audience more interested in the wider political scope of the science fiction franchise, the collaborative pair’s script rather agreeably still manages to crowbar a tantalising taste of the Bene Gesserit Mother School of Wallach IX, in between Pardot Kynes’ attempt to show some polite veneration towards Vladimir Harkonnen at the Baron’s headquarters, and Duncan Idaho’s desperate attempt to flee from the slave pits on Giedi Prime. Furthermore, Reverend Mother Anirul’s evident delight at the ancient order’s attempt to create the Kwisatz Haderach is especially well-penned, with the woman positively beaming at her brethren over a scroll containing a complicated family-tree, when she announces that a Harkonnen daughter will mean the universal super-being is only a generation or two away from being born.

Likewise, this twenty-two page periodical’s cliff-hanger is similarly as beguiling, with illustrator Dev Pramanik pencilling a well-paced surprise for any bibliophiles unfamiliar with “the eponymous prequel novel” upon which this mini-series is based. It is easy to imagine the internal emotional struggle taking place within the adolescent Leto as he experiences a mixture of homesickness for Caladan and excitement for his new adventures on the mysterious industrial planet of Ix. So when his journey from the sterile atmosphere of a Spacing Guild Heighliner supposedly deposits “the guest of Earl Dominic Vernius” at his final destination, the stunned surprise and fear on the lad’s well-drawn face should actually cause many readers to actually hear a distinctive crack in his voice as he gives a distraught cry for assistance.

The regular cover art of "DUNE: HOUSE ATREIDES" #2 by Jae Lee & June Chung

Mighty Morphin #1 - BOOM! Studios

MIGHTY MORPHIN No. 1, November 2020

Publicised by Boom! Studios as “the first of two all-new series with two all-new teams in November 2020” and featuring a bizarrely entertaining battle between the Power Rangers and a technologically advanced giant panda, Ryan Parrott’s script for Issue One of “Mighty Morphin” certainly lived up to its promise of providing its audience with an exciting comic which is “perfect for long-time fans and new readers alike” when first released. Indeed, coupled with the mystery surrounding the secret identity of an all new Green Ranger, as well as the detrimental effect people’s personal suspicions subsequently have upon the team’s dynamics, the “superstar writer” would seem to have concocted an impeccable recipe for any fan of the American superhero children's television programme.

Furthermore, the thirty-page periodical presents a fascinating insight into one of Zordon’s physical battles “over ten thousand years ago” on the planet Artavias, as the modern-day Rangers' mentor accompanies the likes of Zophram in a fight against the invading Hartunian Empire. This well-paced bout of pulse-pounding pugilism provides an intriguing contrast to the usual Command Centre-based character, and also adds an additional emotional element to the ancient guide’s plight when he later blissfully recalls climbing the spine-covered trees on Eltar so as to eat their delicious fruit to Billy.

Of course, this book’s greatest highlight is the aforementioned contest against Lord Zedd’s latest creation, Pandamonium, at a building site in downtown Angel Grove. Festooned with sharp spears, and the odd helmet of those he has previously vanquished, this adversary looks as strangely formidable as he does incongruous amidst his surroundings. Yet just as soon as the beast starts battering his opponents about the worker’s yard, it quickly becomes clear that the super-powered team may well need the assistance of the Green Ranger and his awesome Dragon Strike if they hope to defeat such a frightening foe; “Look, I don’t know where you came from or how you that coin. But it seems like maybe we’re all on the same side here.”

Lastly, it would be rude not to mention Marco Renna’s invaluable contribution to this publication with his marvellous layouts and eye for a dynamically-pencilled action sequence. The Italian artist’s action sequences featuring a younger Zordon and Pandamonium are incredibly well-drawn and marvellously capture all the vibrant energy of the frenzied fighting depicted on the small screen during the Nineties.

Written by: Ryan Parrot, Illustrated by: Marco Renna, and Colored by: Walter Baiamonte