Devil's Reign: Moon Knight #1 - Marvel Comics

DEVIL'S REIGN: MOON KNIGHT No. 1, May 2022

Built upon the foundation of a super-succinct opening summary as to just why Marc Spector has suddenly been “arrested by the Thunderbolts as part of Wilson Fisk’s crackdown on costumed heroes”, and locked up inside a high-tech prison, Jed MacKay’s script for Issue One of “Devil’s Reign: Moon Knight” definitely delivers one of the most savage depictions of the Fist of Khonshu arguably ever seen on the printed page. Indeed, the masked mercenary’s harrowing fall into his old “wild dog days” is genuinely shocking, and demonstrates just how far the priest will clearly go so as to protect those who seek his protection at the Midnight Mission.

Furthermore, the narrative does a good job in depicting the fighting prowess of Moon Knight when facing either street-level opposition or the weaker, super-powered villains, such as 8-Ball, Captain Confusion or Man Mountain Marko. Incarcerated deep inside the Myrmidon, it would have been all too easy for the Canadian author to have penned a farfetched tale of Mister Knight besting a far more fanciful foe. But rather than fall into that trap, MacKay instead simply sticks to a solid storyline where the titular character is brutally besting a number of third-rate criminals he’s previously “helped put away.”

Similarly as believable is the notion that Marc actually allowed himself to be imprisoned by Mayor Fisk’s “punk-ass cops” in order to ensure Judith Cort and her twelve-year old daughter never have to fear seeing Michael Marko again. This ruse, so as to get in physical contact with Silvermane’s former “loyal lieutenant”, makes perfect sense considering the West Coast Avenger’s target is the penitentiary’s much-lauded King of the Cage, and shows just how cunning the New York City vigilante can be since fully settling into his role as “the defender of all those who travel at night.”   

Aiding in MacKay’s attempt to portray Moon Knight at his most pugnaciously ruthless is Federico Sabbatini, who really seems capable of pencilling a disconcertingly eerie-looking Spector remorselessly pummelling the likes of Killer Shrike and Cactus. Admittedly the Italian artist’s style might prove a little too Manga-like for those readers who remember John Buscema’s “How to Draw Comics the Marvel Way” methodology. However, the sheer sense of speed captured in the illustrator’s fight scenes easily helps make the impact of the bone-breaking blows eye-wateringly imaginable.

Writer: Jed MacKay, Artist: Federico Sabbatini, and Color Artist: Lee Loughridge

DC Vs. Vampires #1 - DC Comics

DC VS. VAMPIRES No. 1, December 2021

Predominantly telling the tale of Andrew Bennett’s fantastic flight from the vampire-infested headquarters of the Legion of Doom, this comic's lengthy flashback sequence arguably grips its audience straight from the get-go, and simply doesn’t let up until its very end when a grim-faced Alfred Pennyworth explains to a perturbed Bruce Wayne that “Lex Luthor might have just saved the world.” Indeed, even this twenty-three page periodical’s opening sequence, depicting the murdered Queen of Blood’s lover desperately attempting a flesh-sizzling daylight visit to the Hall of Justice contains plenty of intriguing hooks to keep the reader locked into James Tynion IV and Matthew Rosenberg’s engrossing narrative.

Perhaps however this book’s biggest draw is the startling revelation that the blood-drinkers who have turned the likes of the Scarecrow, Gorilla Grodd and Edward Nygma into some seriously scary supernatural killers, have also already infiltrated the Justice League of America. This shocking eye-opener is genuinely alarming, especially considering that the sharp-toothed traitor was previously depicted rescuing Bennett outside under the sun, and leads to a truly grisly demise for the annoyingly enthusiastic, yet ultimately heroically-hearted, Zan inside a giant-sized, emerald-coloured meat-grinder; “Usually I prefer fresh blood, but on special occasions I don’t mind a smoothie.”

Similarly as surprising is this publication’s conclusion, which surely must have wrong-footed many a bibliophile who thought the vampire uprising had successfully silenced Andrew’s brave attempt to expose their fast-growing threat to humanity. Throughout the entire comic it seems abundantly clear that the badly-bandaged ‘creature of the night’ is talking to Green Lantern. However, Batman’s swift return to the Batcave, courtesy of Alfred’s “cryptic message”, soon establishes that this book’s writers have merely been narrating the words of a letter penned by Andrew and left earlier at Wayne Manor for the Dark Knight’s urgent attention.

Undeniably adding plenty of gory chill to this mini-series’ storytelling is Otto Schmidt’s pencilling and vibrant colours. The illustrator does a first-rate job of imbuing all the panels set around the Legion of Doom’s headquarters with a truly demonic atmosphere, thanks largely to a wonderfully crimson palette and frenzied-looking “hyper-intelligent telepathic gorilla.” Whilst the nerve-jangling ‘holier than thou’ look upon Hal Jordan’s face when he divulges his ‘evolution’ is debatably only matched by the disbelieving horror of Zan as he’s about to literally be minced alive.

The regular cover art of "DC VS. VAMPIRES" #1 by Otto Schmidt

Shang-Chi [2021] #9 - Marvel Comics

SHANG-CHI No. 9, April 2022

Clearly depicting the titular character’s facially-disfigured grandfather as this series’ central villain, as well as teasing the comic’s audience that a low-level thug residing in Hawaii is actually a prospective heir to Zheng Zu’s villainy, this “next phase of Shang-Chi’s legend” certainly strives to provide its readers with an enthralling mixture of treacherous intrigues and utterly insane action. But whilst Gene Luen Yang’s central plot purely focuses upon Chieftain Xin’s utterly ruthless obsession to destroy everyone in the Master of Kung Fu’s bloodline, the actual logic as to just how his dinosaur-like taotie both scent and then subsequently track their hapless victims is arguably rather contrived.

Indeed, having been summoned out of thin air from the dimension of Ta-Lo, the voracious beasts seem understandably intent of savagely dispatching the owner of the blood from which they materialised – Commander Hand. However, having quickly lost one of their number to the martial arts expert and his two equally as skilled sisters, the surviving two beasts suddenly just slope straight off Mauna Kea Summit so as to attack the utterly dislikeable mugger, Falo, and the Colorado-contained prisoner Deadly Sabre. Just why the “sharp-toothed beasts” depart having failed to successfully gorge themselves upon the flesh of Shang-Chi, Esme and Sister Staff is unexplained, as is how one of the fiends somehow locates Takeshi buried deep inside a maximum security prison for super villains on another land mass..?

Fortunately though, once such quibbles are set aside, this twenty-page periodical contains an incredible amount of sense-shattering shenanigans with which to beguile even the most casual bibliophile. Yang’s portrayal of Xin as an untrustworthy, lying, homicidal maniac is debatably faultless, as the guardian of Qilin Island’s stone gateway readily admits deceiving the “Chi-Meister” with the promise of Jiang Li’s safe return, simply so his fearsome Qilin Riders could ambush Zheng Zu’s son and brutally ride him down with their bestial mounts.

Likewise, there is plenty to admire within the layouts of Marcus To, would was revealed by “Marvel Worldwide” a few months prior to this comic’s release as the title’s “new ongoing artist.” The Canadian illustrator does a first-rate job of pencilling all the anger-fuelled violence of this book’s battles with Xin and the taotie, and it is abundantly clear why he was also chosen in September 2021 to live stream a 'How to Draw Shang-Chi' video for the New York-based publisher’s “YouTube” page.

The regular cover art of "SHANG-CHI" #9 by Leinil Frances Yu & Sunny Gho

Artemis & The Assassin #5 - AfterShock Comics

ARTEMIS & THE ASSASSIN No. 5, September 2020

Despite Stephanie Phillips’ heartfelt “Thank You” to this mini-series’ readers at the end of this comic showing just how much thought the American author put into her storyline, it is arguably doubtful many within this book’s audience actually found its conclusion particularly satisfying. For whilst Issue Five of “Artemis And The Assassin” unquestionably contains a few resolutions to the overall narrative, it leaves so many more plot-threads still disappointingly up in the air that doubtless many a bibliophile were probably fully-expecting a sixth instalment.

Indeed, not even the near obliteration of Isak, complete with exploding eyeball, disintegrated arm and severed foot, seems to have permanently resulted in the mass-murdering company executive’s demise – courtesy of Dutch Henderson inexplicably making a well-timed appearance from the past with a working copy of the ‘book of the Dead’. Such a dissatisfying revival obviously sets up the opportunity for a future sequel, but frustratingly doesn’t in any way help explain just why the time traveller’s company from the future was employed to interfere with the success of the Allied invasion during World War Two in the first place..?

Similarly as bamboozling is the actual source and limitations of Maya’s supernatural powers. The deadly assassin has already demonstrated her susceptibility to physical injuries during this five-parter’s previous editions, yet during this particular twenty-page periodical she appears perfectly able to ‘shrug off’ a sword blade straight through the gut without much effort. In fact, this fatal wound only seems to show its bloody impact towards the end of her unsuccessful fisticuffs with Isak, and then it doesn’t seem to stop her literally blowing her overconfident adversary up with the woman’s all-too convenient magical energy; “Look at this power. You don’t even know what you’re capable of. I did this. I gave you this power.”

Sadly, even Virginia Hall appears to develop some 'super-powers' so as to overcome her awkwardly-placed teleportation back into the past. Historically deemed "the most dangerous of all Allied spies" by the Gestapo, "the limping lady" arrives smack in the middle of a well-armed German guard-post, and despite her prosthetic leg, both outruns and then outfights all of her gun-toting opponents before contrivingly completing an identical feat with a disbelieving French Resistance cell.

Writer: Stephanie Phillips, Artist: Francesca Fantini, and Colorist: Lauren Affe

Geek-Girl #8 - Markosia Enterprises

GEEK-GIRL No. 8, December 2021

Packed full of a plethora of plots, Sam Johnson’s script for this “extra-sized issue” certainly does a good job in ‘hooking’ its readers, whether they stay for Geek-Girl’s big battle against the formidably-sized Digger Mensch, the mysterious discovery of an old man and his cloned wife living deep inside Johnny Carlyle’s multi-storied Headquarters in Maine, or the incredible, dimension-jumping exploits of Cabra Cini. In fact, in many ways it’s a shame this twenty-four page publication isn’t even larger so as to give the likes of the “Voodoo junkie hitwoman” and the bizarre happenings inside the Infinite even more ‘screen time’.

Foremost of these story-threads however, has to be Tyler’s unearthing of Gerry and Theresa. The elderly people’s plight is actually quite heart-breaking, with the building’s cold-hearted owner appearing to be as ruthless a landlord as he was a scheming salesman of high-tech weapons. Luckily, things appear to have been resolved in the short-term when Ruby Kaye decides it would be fine to give the pensioners a ‘stay of execution’. Although, that status quo sadly doesn’t last all that long once the criminally-inclined Digger arrives to permanently remove the former residents; “Yeah. I’m just here to do a job -- Johnny needs them out… They were s’posed to be gone yesterday.”

Just as intriguingly enjoyable are the insights Johnson’s writing provides on the portal-ridden universe of Cabra Cini. The Lady of Voodoo’s ability to traverse “Limbo’s crazy cousin -- locked away in the attic”, courtesy of some magical symbols, looks set to generate some sense-shattering shenanigans in this ongoing series’ future instalments. But in addition, the twisted domain also seems to have a second connection to our modern day world, thanks to the comatose hospital patient Kristina and her eyeless duplicate who is depicted dinning on chicken, vegetables and potatoes with a disconcertingly masked Lisa back in the Infinite.

Providing this periodical with some prodigious pencilling is Carlos Granda, who really does a splendid job during this comic’s opening of showing just what a massive, sprawl of corridors and doors the super-team’s premises consists of. Likewise, the artist really imbues Mensch with all the angry frustration a bibliophile might expect from a criminal whose “crooked drinking buddies” are starting to deride, now his boss has seemingly turned away from numerous nefarious activities.

The regular cover art to "GEEK-GIRL" #8 by Carlos Granda & Chunlin Zhao

Moon Knight [2021] #7 - Marvel Comics

MOON KNIGHT No. 7, March 2022

Although Jed MacKay’s narrative for Issue Seven of “Moon Knight” debatably doesn’t depict its titular character “fighting his way through the super-crime underworld” in quite the grand manner its solicit synopsis suggests, the comic still must have utterly enthralled the majority of its audience with its splendid mixture of base-level detective work and disconcerting treachery. Indeed, “Headhunters” seems to contain a plethora of intriguing hooks with which to snare any unsuspecting bibliophile who just happens to have picked up this pulse-pounding publication off of the spinner rack for a cursory perusal; “Marsdale would go to the grave before he’d rat, and Clown’s dead.”

To begin with, the Canadian composer does a first-rate job in developing a mysteriously sinister background for this ongoing series’ central antagonist, Zodiac. The masked murderer seems to inspire a strange sense of loyalty with some within “the twilight half-world of New York City’s super villainy”, such as an almost fanatical Manslaughter Marsdale, whilst those more likely to blab to the authorities appear unable to literally keep their heads. This tense situation really helps build-up the sadistic malevolence of the anarchist, to the point where it becomes crystal clear to the reader that anyone in his presence, particularly those friendly with Marc Spector, are in deadly danger.

Likewise, this twenty-page periodical contains plenty of spotlight on the former West Coast Avenger’s fellow team-mate Tigra, as the pair slowly grind out a path to the eerily-dark abode of Eliot Franklin’s half-brother, the Clown. This partnership doesn’t unfortunately actually see the dynamic duo fight anyone, but the ‘friendly’ banter between the two as they stalk their psychopathic prey is well-written. In addition, the later revelation that all is not what it seems with Greer Nelson’s motivation to join the Fist of Khonshu’s side, makes the heroic weretiger’s presence all the more absorbing.

Internal intrigues aside, what also makes this comic so successful are the action-packed panels pencilled by Federico Sabbatini. 8-Ball’s death-defying drop towards an industrial car shredder is incredibly well-drawn by the Italian artist, with the clank of the chains keeping him alive just about being audible over the terrifying sound of the huge machine’s always-grinding teeth. However, it is probably the fast-paced bout of pugilism between Moon Knight and Marsdale which is the highlight of this book, as the two determined combatants trade a series of bone-crunching blows and kicks with one another.

Writer: Jed MacKay, Artist: Federico Sabbatini, and Color Artist: Rachelle Rosenberg

Shadowman #7 - Valiant Entertainment

SHADOWMAN No. 7, March 2022

Considering the sheer scale of the invasion Cullen Bunn attempts to encapsulate within this twenty-page periodical's storyline, as literally hundreds of Blights tear through “the veil” to conquer the world of the living, the American author’s technique of having Shadowman narrate the events via a soliloquy certainly does its job. However, for those ‘Valianteers’ who enjoy a comic’s cast actually talking to one another whilst desperately fighting off numerous ghoulish horrors spilling out from several dimensional gateways, this publication-long inner monologue can debatably prove a little tiring to wade through after a while.

Thankfully though, the titular character’s disconcertingly defeatist, dialogue-heavy thoughts as to how wrong he was to believe he could “bring about a peaceful resolution” to the mass mêlée doesn’t interfere too much with the general spectacle of seeing some of Valiant Comics’ greatest super-heroes going toe-to-toe against the clawing hands of flesh-hungry skeletons. Indeed, alongside a brief cameo of Bloodshot grimly gunning down some multi-toothed monstrosity with a mass of bullets, one of the highlights of this book has to be Alyssa and the Arbettors almost getting the better of Deadside in her physical form with an entrapment spell.

Likewise, there’s plenty for fans of Punk Mambo to enjoy, courtesy of the British magic-user seemingly taking centre-stage during the sprawling conflict’s biggest moment. Armed with a mystical harpoon, Victoria Greaves-Trott dramatically demonstrates just what a kick-ass “Mohawk-sporting, voodoo priestess” she can be, even though her attempt to skewer the personification of Deadside ultimately proves unsuccessful and the feisty, pink-haired rebel is fought off by Master Darque; “Keep them at bay? Keep them busy? Wait for an opening? Pick yourself up? Stay on your feet? Brush the dust of creation off your shoulders? Move? Duck? Dodge? Keep yourself alive as long as you can?”

Still, perhaps this comic’s ultimate success largely sits upon the shoulders of Pedro Andreo, whose sublime pencilling makes the heroes’ pulse-pounding predicament a visual treat for the eyes.. Absolutely crammed full of sense-shattering scuffles and dynamically-drawn disputes, the Spaniard’s panels make it super easy to imagine both the cacophony of sounds and the dour determination of the combatants, as it becomes clear to Jack Boniface’s friends that the living are fighting a losing battle…

The regular cover art of "SHADOWMAN" #7 by John Davis-Hunt