Dune: House Atreides #10 - BOOM! Studios

DUNE: HOUSE ATREIDES No. 10, September 2021

It is difficult not to recollect the Space Guild Navigator’s line from David Lynch’s 1984 science fiction film “Dune” that “I see plans within plans” whilst reading Brian Herbert and Kevin J. Anderson’s narrative for Issue Ten of “Dune: House Atreides”. For whilst the twenty-two page periodical also includes a few scenes depicting the social niceties of life inside both Castle Caladan and the Imperial Palace on Katain, it predominantly focuses upon the Machiavellian machinations of Baron Vladimir Harkonnen, the soon-to-be crowned Padishah Emperor and the superbly sinister Bene Gesserit.

Indeed, coupled with the aspirations of young Duncan Idaho to suddenly rise from his position as stable boy to become a Swordmaster from the Weapon School of Ginaz, Duke Leto Atreides’ dangerous determination to see House Vernius restored back to its full glory at the Imperial Court, and Liet Kynes’ planet-wide plans for the future of life on Arrakis, some within this comic’s audience may well start to experience their head spinning as to just which character is trying to manipulate whom under what circumstances; “Therefore we must use all the tricks and influence of the Bene Gesserit to make sure that Duke Leto survives for our Kwisatz Haderach Breeding Program.”

Happily however, such a richly thick goulash of plots and sub-plots doesn’t stop this book from being a thoroughly enthralling experience, especially when the Harkonnens actually initiate their scheme to create a devastatingly destructive war between the treacherous Tleilaxu and honourable Atreides, only to find the newly ensconced “Red Duke” is already willing to disobey Guild laws and regulations in order to save his people. This shockingly serious breach of galactic etiquette takes the Baron by complete surprise, and bodes intriguingly well for the reader in the future, as it becomes abundantly clear that no matter how well laid out a conspiracy’s preparations may be, the end result may not be as ‘written in stone’ as the plotters might hope. 

Also adding plenty of foreboding, atmospheric tension to this tale with his pencilling and occasional eye-wincing depiction of death, is Dev Pramanik (with Mariano Taibo). The Indian illustrator is arguably at his best when sketching the skulking Harkonnens prematurely patting themselves on the back in the dingy blackness of Giedi Prime at the cleverness of their undetectable space-fighter. But the artist additionally does a great job in suggesting the sheer scale of a heighliner’s horrendously large hold, packed full of “frigates, cargo shuttles, and passenger craft.”

The regular cover art of "DUNE: HOUSE ATREIDES" #10 by Evan Cagle

Alien #7 - Marvel Comics

ALIEN No. 7, November 2021

Set some “two years since the last reported Xenomorph incident”, Phillip Kennedy Johnson’s script for Issue Seven of “Alien” certainly gets the ongoing series’ second storyline off to a corking start, with Captain Li being woken early from hypersleep due to one of her spacecraft’s passenger chambers being mysteriously damaged mid-flight. Indeed, this comic's opening is absolutely packed with just the sort of gripping, claustrophobic tension a fan of the science fiction/horror franchise would expect, as an increasingly nervous ship’s skipper suddenly realises that she is not actually alone despite the rest of the crew still being in their tubes; “Incident Code 039.019.0078A indicates an unknown contaminate on board.”

Disconcertingly however, the Eisner-nominated writer’s subsequent introduction of the colonists living on the United Americas-annexed Moon of Euridice is arguably less successful, predominantly due to the personality of the community’s leader, Jane. Battling both a deadly, degenerative disease, alongside all the fears harboured by her people that the authorities may not live up to their end of a long-running bargain to give their terraforming settlement independence, there is clearly much to like about the loyal trailblazer. Yet witnessing the woman hunt down a stag she has wounded with an arrow until the poor animal bleeds itself into semi-consciousness doesn’t debatably leave the best of impressions as to Jane’s sense of compassion; especially when artist Salvador Larroca pens a close-up of her slitting the dying beast’s throat with a large hunting knife.

Fortunately, once the Heraclides spectacularly crash-lands near the colony’s garden, the American author focuses far more upon the chief’s more heroic attributes, as she bravely battles the surrounding fires to gain access to the wrecked space vessel. Delightfully, Johnson is once again on top form for this action sequence, depicting Jane nervously walking through an interior packed full of alien eggs, and being brilliantly ‘jump-scared’ by a sole-surviving crewmember who just has time enough to scream a warning before an immature Xenomorph brutally emerges from inside her tattered torso. These infamous chest-bursting scenes have debatably been ‘done to death’ nowadays, both in other publications and media. But such is the Spanish illustrator’s ability to depict the traumatising terror upon the would-be rescuer’s face as she witnesses the event that it’s hard to imagine few bibliophiles weren’t silently holding their own mouths in alarm whilst perusing it.

The regular cover art to "ALIEN" #7 by Marc Aspinall

Bat-Mite #4 - DC Comics

BAT-MITE No. 4, November 2015

It is certainly clear with Dan Jurgens’ script for Issue Four of “Bat-Mite” that he “really wanted a different head space as a writer” when the American author settled down to pen “The Gold Standard”. For whilst the twenty-page periodical contains plenty of pulse-pounding pugilism two thirds of the way through the comic as Booster Gold sets about laying a serious smackdown upon the villainous Gridlock, the vast majority of this book’s set-pieces try to be much more tongue-in-cheek than a bibliophile might ordinarily expect from one of the creative team behind “The Death Of Superman” in 1993.

Indeed, Jurgens has previously gone on record to explain that he was “up for an anything goes type of series” at the time he accepted the job from “DC Comics” and that he felt the meddling imp offered “a good, fun, romp.” Sadly however, such a sense of amusement doesn’t arguably project from this particular book’s narrative, with Bill Finger’s diminutive co-creation coming across as an utterly dislikeable troublemaker as opposed to the well-meaning, slightly endearing nuisance who simply wants to emulate the good deeds of his hero, the Batman; “You ruin everything! You imbecile! You’re responsible for this disaster!”

True, the reality warping gremlin eventually makes everything he’s done wrong right by reversing his preposterous decision to makeover Michael Jon Carter, his super-powers, costume and name into something “more Batmanish!” But having already unsuccessfully tried to claim the glory of putting out the fiery remains of Reagan Bennington’s beloved photo album, and subsequently attempted to cause Booster Gold to plummet to his death when he mistakenly thought the Justice Leaguer was a deadly Silent Sentry, it’s difficult to imagine many readers had any patience left with the egotistical, ultra-frustrating meddler.

Debatably this publication’s sole salvation therefore may well rest upon the shoulders of Corin Howell, whose cartoonish reimagining of the titular character certainly helps imbue Bat-Mite with plenty of personality. The “red-headed" artist also does a great job of portraying the truly-palpable exasperation the rest of this comic’s supporting cast feel whilst interacting with the so-called “Champion of Justice”, especially Regan when she storms out of her department having realised her unwanted ‘magical’ flat-mate actually expected praise for destroying her aforementioned highly sentimental book.

Writer: Dan Jurgens, Artist: Corin Howell, and Colors: Mike Atiyeh

Orphan And The Five Beasts #1 - Dark Horse Comics

ORPHAN AND THE FIVE BEASTS No. 1, March 2021

Enthusiastically described by “Dark Horse Comics” as “a brand-new Kung-Fu epic”, James Stokoe’s script for Issue One of “Orphan And The Five Beasts” certainly seems to live up to its publisher’s promise considering the book’s “ultra-detailed fantasy imagery” and classic tale of oriental revenge. Indeed, considering that this book is packed full of far eastern mysticism, plenty of Samurai-era shenanigans and some seriously sense-shattering sword-fighting, its arguably hard to imagine why the twenty-three page periodical peddled so poorly in March 2021 that it was apparently only the eighty-second best-selling comic of the month.

Happily however, those bibliophiles fortunate enough to have picked up a copy should quickly have been beguiled by the Canadian author’s classic take on a village elder foolishly empowering a group of unworthy warriors with the supernatural abilities to defeat an all-conquering common foe, and then witnessing them treacherously misuse his teachings afterwards for their own benefits. Dying within a body-sized clay jar of boiling water, the old master’s highly-detailed flashback sequence is superbly penned, and does a splendid job of setting Orphan Mo on the path of their elder’s redemption; “Its hooks have sunk deep into the valley, spreading rot and spiritual pestilence… Ahead of you, demons walk the Earth. Go, and become an emissary for Hell!”

Equally as entertaining though, has to be the subsequent scintillating skirmish between the spiritualist’s protégé and a band of raiders who unwisely intercept a cart of monks taking much-needed goods to aid a local village. Quietly unassuming, this mini-series’ main protagonist dynamically defeats the cowardly thieves with a virtuoso performance in non-lethal close-combat, and provides this publication with a strong cliff-hanger when the young woman suddenly confronts the well-named traitor, Thunderthighs, at the temple the black-hearted bandit has usurped as his headquarters.

In addition to his enthralling writing, Stokoe’s artwork is also first-rate, with the illustrator’s knack for “over-the-top violence” creating some truly-fascinating panels which are well worth a reader spending plenty of time poring over. This attention to detail is particularly noteworthy during the brigands' aforementioned unsuccessful attempt to spirit away the amicable Abbot’s wares for their boss’s personal pleasure, as James imbues every weapon strike with an incredible sense of blinding speed and physical vitality.

Script, Art, Letters, and Cover: James Stokoe

Conan The Barbarian #25 - Marvel Comics [Part Two]

CONAN THE BARBARIAN No. 25, November 2021

Leading the charge into the second half of this “oversized spectacular” is Dan Slott’s somewhat humorous take on an evidently well-drunk titular character being unwisely recruited by a gang of rogues to steal a jewelled egg. The Eisner Award-winner definitely should be lauded for trying something different with this adventure’s story-telling, as the six-pager contains absolutely no dialogue whatsoever. However, “Night of Oblivion” is possibly so tongue-in-cheek with its waggish larks that it probably struck many a reader as being something more akin to “Groo the Wanderer” than Robert E. Howard’s sword and sorcery hero.

Indeed, it is hard to imagine Conan ever being so inebriated that he would mistakenly cause the senseless demise of the three thieves accompanying him during the subsequent blood-soaked burglary, especially when the barbarian clearly still has the wherewithal to snatch a blazing torch to burn a giant eagle to death, kill the tower’s resident wizard and rescue a helplessly bound damsel-in-distress straight afterwards. Perhaps therefore this narrative’s main takeaway can be found in Marcos Martin’s amusing artwork, most notably the Spanish illustrator’s incredible ability to pencil the look of sheer horror upon the last surviving burglar’s face as he witnesses his companions' horrible ends, and angrily realises the real threat to his life is actually the sword-wielding drunkard he recently hired.

Somewhat dishearteningly rounding off this ‘celebration’ is debatably this comic’s weakest link in the guise of James Owsley’s “Black Orchid”, which depicts an enfeebled Conan the King once again facing off against the demonic Devourer of Souls. White-haired and unable to even lift his great sword without debilitating chest pains, the American authors pens a truly depressing fate for the abdicated ruler of Aquilonia as he skewers his worm-wolfing adversary with a final, fatal effort; “My heart, Demon, is Cimmerian. You want this sword back? Come and take -- Uurrrkk --!”

Luckily, such a disconcerting destiny is soon revealed to be nothing more than a bad dream. Yet even this revelation is heavily darkened by regret and unhappiness, as the bearded monarch, who is drawn by Roberto Del La Torre as apparently sleeping whilst still wearing his crown, bemoans the fact that he has settled down to a “living hell” with Zenobia and their children rather than grown old out adventuring…

The regular cover art of "CONAN THE BARBARIAN" #25 by Geoff Shaw & Edgar Delgado

Conan The Barbarian #25 - Marvel Comics [Part One]

CONAN THE BARBARIAN No. 25, November 2021

“Celebrating three hundred issues of Conan The Barbarian”, as well as “the return of Belit”, this rather large anthology probably looked particular enticing when initially conceived by Editor Mark Basso, with its mixture of popular periods and well-liked characters from the Cimmerian’s all-encompassing adventures. However, as thirty-page periodicals go there is arguably little within this comic’s four separate storylines which is either memorable or even actually makes much sense; “Were they a reminder and a warning? Perhaps. Perhaps not. Only the gods know for certain. We cannot fear what has been or what may never be…”

To begin with series regular Jim Zub pens a debatably bizarre tale concerning Conan and “the Queen of the Seas” fighting both a younger and older version of the Hyborian Age hero deep within the bowels of a dilapidated temple. Just what the purpose of the ancient place and the two apparitions its giant metallic spheres create is never explained, and resultantly seems to have been solely manufactured to pit Belit against a supposedly inexperienced horn-helmeted Cimmerian, whilst the current incarnation of the black-haired pirate battles the future King of Aquilonia.

Admittedly, such confrontations as to who would win such skirmishes are just the sort of thing devotees of Robert E. Howard’s sword and sorcery character might endlessly debate. But it still seems odd to actually see such amateur fan fiction being explored within this particular book, especially when the Canadian author has Conan beheading his future-self after purposely receiving a double-handed axe blow to the forearm so as to “move in and disarm” his opponent. Ordinarily such a viciously strong chop, prodigiously pencilled by Cory Smith, would sever the entire limb. Yet in this narrative, the barbarian barely feels the blade nor seemingly suffers any noticeable blood loss from the calamitous injury.

Far more enjoyable, though perhaps equally as motiveless, is Larry Hama’s short-lived, claret-stained story set just “after the events of the Frost Giant’s Daughter”. This sense-shattering sword-fest simply portrays an already gore-caked Cimmerian brutally slaying three over-confident Vanir who misguidedly see the mutilated corpses surrounding their enemy as a sign he’ll be an easy victim of their spears. Needless to say Paul Davidson soon superbly sketches the fur-clad rearguard being literally hacked to pieces, and ends the yarn with the previously stranded, snow-bound foot-soldier now riding one of his attackers’ well-nourished horses.

The regular cover art of "CONAN THE BARBARIAN" #25 by Geoff Shaw & Edgar Delgado

Star Trek #13 - Marvel Comics

STAR TREK No. 13, April 1981

Essentially reading like Gene Roddenberry’s (original) science fiction franchise meets “Planet Of The Apes”, Martin Pasko’s script for Issue Thirteen of “Star Trek” probably pleased most of its readers with its elaborate blend of space battles, pulse-pounding phaser-action and mysterious murders. Indeed, coupled with the inclusion of some seriously war-like Klingons, who’ll apparently stop at nothing to conquer “the resort planet Hephaestus in the Kyros System”, as well as Joanna McCoy’s imminent marriage to a terminally ill Vulcan, and it’s hard to imagine what else the Montreal-born writer could crowbar into the space of just twenty-two pages.

Sadly though, the actual storyline holding all these dynamic elements together doesn’t debatably withstand that much scrutinization, starting with the Canadian screenwriter’s disconcerting depiction of the Klingons. True, having somehow found out that the Hephaestus primates actually obtain their intelligence as a result of a computer-chip being surgically implanted into the base of their skulls when infants, it certainly seems to make sense that the warrior species would secretly hope to negate the Treaty of Organia by destroying the ape-people’s manufacturing facility and then subsume the ‘doltish’ simians into the Klingon Empire. But it seems hard to believe that at the very cusp of victory, Kagg’s crew would suddenly decide “to back off” because the battle cruiser Kluggoth’s second-in-command inexplicably decides his leader is “an evidently-insane commander.”

Similarly as disappointing is Pasko’s handling of “Bones”. Any viewer who has watched the Sixties’ television show would be well aware of the physician’s love-hate relationship with Mister Spock, so his evident anguish at discovering that his estranged daughter plans to wed the wholly unemotional Suvak is perfectly palatable. However, despite the pair’s clear differences concerning Leonard’s divorce, it is hard to imagine such an endearingly caring character as the one actor DeForest Kelley portrayed, subsequently physically assaulting her when his daughter later questions his commitment to her mother; “He’s a Vulcan, blast it! He has no feelings! He can’t love you -- Can’t be a real husband to you…”

Perhaps therefore this Twenty-Third Century odyssey’s real draw lies within the layouts of Joe Brozowski, Tom Palmer and “D. Hands”, who do a good job in capturing the feel of “Star Trek: The Motion Picture” with their pencilling of both the new-look Klingons and Robert Fletcher’s updated Starfleet uniforms. In addition, whenever a punch is thrown, or a phaser fired, the action depicted within the panel definitely adds an extra “Whump” or “Ztt!” to the proceedings.

Writer: Martin Pasko, and Artists: Joe Brozowski, Tom Palmer and D. Hands