Predator 2 #2 - Dark Horse Comics

PREDATOR 2 No. 1, June 1991

“Created by a different team” to that which drew, coloured, and lettered its opening instalment, this official comic book adaption of “Predator 2” probably pleased the majority of its audience in June 1991, courtesy of “Dark Horse Comics” proud presentation featuring a number of plot clarifications which weren’t shown in the motion picture. Indeed, considering just how much clearer it is that the titular antagonist purposely stalks the different members of Detective Mike Harrigan’s team, this thirty-two-page periodical’s narrative may actually be seen by many a bibliophile as being somewhat superior to the storyline seen on the silver screen.

For starters, there is little doubt “the killer from outer space” is proactively following both Leona and Jerry when they take the Metro to Vernon Station. Admittedly, this journey is a little contrived in Franz Henkel’s script, suggesting that the squad’s veteran policeman orders them to go their separate ways simply to give Special Agent Keyes’ boys the slip should they “be around.” But the move does provide artist Mark Bright with an opportunity to proficiently pencil a couple of splendid-looking panels showing the extra-terrestrial killer watching the pair from afar.

In addition, this publication also strongly suggests that the head of the Other Worldly Life Forms (OWLF) team operating in Los Angeles is actually trying to save the metropolis from being blown up by the Yautja’s devastating self-destruct device, rather than cynically hoping to weaponize both the alien and its highly advanced technology. This change in motivation debatably brings a lot more pathos to Peter Keye’s character than is seen during the movie and adds an extra element of bravado to his death when he stops the Predator from filleting Harrigan in a slaughterhouse; “I’m not through with you, god dammit!”

Perhaps this comic’s most significant difference though, lies with just how much more talkative and personal the “city hunter” becomes once it goes “one-on-one” with Mike. Quite possibly the extra-terrestrial’s taunts are noticeable due to Henkel’s truncation of the pair’s lengthy celloid chase and pulse-pounding bout of pugilism. However, the creature’s persistent use of Danny’s voice recordings to goad his opponent makes their fight much more personal and resultantly bitter.

Script by: Franz Henkel, Pencils by: Mark Bright, and Inks by: Randy Emberlin

Star Wars: War Of The Bounty Hunters #2 - Marvel Comics

STAR WARS: WAR OF THE BOUNTY HUNTERS No. 2, September 2021

Proudly proclaimed by “Marvel Worldwide” as “the biggest comic event" of George Lucas' universe, Charles Soule’s storyline for Issue Two of “Star Wars: War Of The Bounty Hunters” surely must have initially excited its 82,460 strong audience considering it featured a no-holds barred brawl between Boba Fett and his arch-rival Bossk. Indeed, the pair’s battle upon “the remote, frozen world of Jekara” is arguably this twenty-page periodical’s greatest highlight – at least until the Dark Lord of the Sith suddenly makes a surprise entrance at the end of Crimson Dawn’s auction for Han Solo’s carbonite-entombed body.

Unhappily though, the sixteen-panel skirmish is also the only action to be seen as this comic predominantly focuses upon the chit-chat, banter and verbal demands of “the galaxy’s most powerful factions”, including representatives from the Empire and the entire Hutt Council. Admittedly, some of this political intrigue and public posturing is reasonably entertaining, especially when an arrogant Administrator Sly Moore’s much-lauded ability to manipulate the minds of others fails quite miserably when used against the likes of Jabba. But it does require the reader to wade through a seemingly endless series of (light) conversational pieces.

Furthermore, the talking simply doesn’t stop, even after the Milwaukee-born writer introduces Doctor Aphra, Princess Leia, Chewbacca and Lando Calrissian to his slow-paced proceedings. Considering the sheer enmity between the Rebels and Fett, many a bibliophile was probably expecting all hell to suddenly be let loose at Lady Qi'ra’s auction. However, all that happens is for the entire cast of characters to forget their own personal squabbles with one another so as to stand in awe at Darth Vader’s unanticipated arrival; “Well, well, well. Let’s see where this goes.”

Possibly just as unenthusiastic about this book’s script as some bookworms might have been, Luke Ross’ layouts disappointingly blow a little hot and cold. The artist does a first-rate job pencilling this mini-series’ notorious bounty hunter and Han Solo’s former lover. Yet sadly, the same cannot be said for many of the sale’s extra-terrestrial bidders, who appear much more roughly drawn. In fact, it’s almost as if the Brazilian illustrator didn’t want to waste too much time sketching the tale’s lesser figures, and subsequently focused all his efforts on the bigger named personalities.

The regular cover art for "STAR WARS: WAR OF THE BOUNTY HUNTERS" #2 by Steve McNiven & Frank D'Armata

DC's Terrors Through Time #1 [Part One] - DC Comics

 DC'S TERROR THROUGH TIME No. 1, December 2022

Considering just how enjoyable this anthology’s opening tales are it is somewhat surprising that neither one is directly referred to in the Burbank-based publisher’s solicitation for Issue One of “DC’s Terrors Through Time”. Indeed, Paul Levitz’s “The Longest Night” sets a suitably dark, engrossingly grim tone for this hefty-sized “terrifying tour across the ages from some of comic’s top talent” by focusing upon the joyless solitude of the Phantom Stranger and his endless vigil guarding the innocent against the sinister desires of the undead; “Why does this night open the gate between life and death, and why give me the responsibility to watch over it..?”

In addition, this ten-pager is well-drawn by Raul Fernandez, who despite the drama's dialogue-driven wordiness, still manages to add plenty of “Blam” to its pulse-pounding proceedings as Carmine Infantino’s co-creation flitters through time during Halloween in an effort to thwart everything from early pilgrims, displaced Native Americans and Chinese demons from feasting upon the souls of the living. Coupled with a suitably sombre palette by colourist Santi Arcas, the illustrator’s panels depicting an attack upon a pair of adolescent brothers by the land’s ferocious-faced indigenous people is highly creditable, with the spooky “righteous spirits” being given an opportunity to air their grievances despite the brevity of the yarn.

Significantly lighter in its tenor, though ultimately just as engaging, is “Trick Or Treat” by Sholly Fisch. Admittedly, there will be some within this publication’s audience who will find this tale’s start somewhat slow, due to its focus upon the Super Sons and their series of unsuccessful visits to a plethora of super-hero’s homes so as to acquire sugar-filled candy bars. However, once Superboy and Robin arrive at the Grand Hall of Justice and inadvertently stumble into their parents’ battle against the formidably magical Demons Three, things definitely start to hot up plot-wise.

Indeed, along with Luciano Vecchio’s prodigious pencils and Wendy Broome’s marvellous purple-hued assault upon the senses, this part of the two boys’ adventure is arguably one of the highlights of the entire comic, as both protagonists employ wits over sheer strength to ultimately defeat the impish-looking Abnegazar, Rath and Ghast. Furthermore, the Argentinian illustrator’s sketches showing the Super Son’s bravely battling their demonic foes are packed full of dynamic action to the point where it is a real pity the fight scene wasn’t extended by at least another page or two.

The regular cover art to "DC'S TERRORS THROUGH TIME" #1 by John McCrea & Mike Spicer

Alien [2022] #3 - Marvel Comics

ALIEN No. 3, January 2023

Considering just how much of this twenty-page periodical is dialogue-heavy discussion and sedentary story-telling, there’s arguably still a tremendous amount of tense, adrenalin-fuelled antics to be enjoyed reading Phillip Kennedy Johnson’s narrative for Issue Three of “Alien”. In fact, the persistently pervading atmosphere of dread and death sticks to this comic throughout, making every panel a potential depiction of someone meeting a truly gruesome demise at the hands of the latest alien strain; “Our time killing humans and gun-bots is done. This is the future of warfare. We escaped it for a while. But it found us in the end.”

Furthermore, the “Eisner-nominated writer” does an excellent job in quickly establishing the personalities of Tobler-9’s surviving colonists and just how well they individually interact with Steel Team. Anger, resentment and distrust of one another debatably prevail in this sudden amalgamation of the living and synthetic. But the author also manages to crowbar in some much more tender interactions, as well as establish a common bond between the two groups when it comes to ‘searching the Xenomorph-infested planet for an alien sample that can save humanity.”

Of course, many within this book’s audience will simply be waiting for the ‘mythical Special Operations team’ to face-off against this publication’s titular antagonists, and when such a confrontation does eventually occur “Icarus” is not found wanting. Indeed, it’s difficult to count the sheer number of bullets blazing across each picture as both “the humans and synths strike an uneasy bargain” so as to lay waste to a fearsome alien queen’s opening salvo of warrior drones.

Helping to sell some of this plot’s sense of desperation and determination to succeed against almost impossible odds, are Julius Ohta’s layouts, which really do a good job in depicting the low-tech level of existence experienced by the colony’s few inhabitants despite all the futuristic equipment surrounding them. Moreover, the Brazilian illustrator’s prodigious pencilling of the various characters’ facial expressions is first-rate, and definitely helps sell each cast member’s emotions as they interact with one another; most notably Eli, whose initial hated of his would-be rescuers turns to something far more sinister when he knowingly neglects to warn Lee that she’s about to be bitten by a poisonous bug.

The regular cover art to "ALIEN" #3 by Bjorn Barends

Batman: Urban Legends #19 [Part Two] - DC Comics

BATMAN: URBAN LEGENDS No. 19, November 2022

Providing Alfred Pennyworth with plenty of pathos and personality, Chris Burnham’s script for “On The Hook” certainly must have pleased anyone with even a passing interest in H.P. Lovecraft’s Cthulhu Mythos. For whilst the butler’s extremely engaging investigation into the theft of some jade jewellery is easily entertaining in its own right as the manservant desperately attempts to discern some meaning from all the clues he slowly uncovers. The ten-page plot debatably ramps up to another level once his informant Mollie starts talking about immigrant whalers discovering an ancient treasure deep within the belly of a malformed marine mammal, and it’s chilling connection to the aquatic deity Dagon.

In addition, the comic book artist does a first-rate job in permeating his pencilling of “The Pennyworth Files” with all manner of tentacles, nervous glimpses into shadowy corners and mysterious fish-faced stalkers. These side-glances, moments of haunting doubt and resolute bravado genuinely help imbue all this narrative’s cast with plenty of intriguing emotion, and will arguably cause many in the audience to sympathetically sigh with relief at the instalment’s end when Bruce Wayne’s determined employee realises he no longer needs to risk his life by covertly infiltrating “the D’Agostino Murder Manor”. But rather visit the Headless Mummy of Dagon display at the Gotham City Museum instead; “I’ll take an elder god over the mafia any day!”

Equally as mesmerising due to its detailed insight into the World’s Greatest Detective is “Leather Bound” by Brandon Easton, which doubtless provided this anthology’s audience with many a nightmare concerning giant reptiles feasting upon human limbs in unpleasant smelling sewer systems. Initially hinting at perhaps a team-up between Batman and the villainous Killer Croc, the Baltimore-born writer instead rather excitingly establishes a traumatic three-way battle, where the Dark Knight must defeat both Waylon Jones’ super-strong alter-ego, and simultaneously track down a mysterious maniac who is obsessed with skinning his four-legged victims’ scaly hides.

Artist Will Robson should also be given a resonant round of applause for his contribution to this twenty-two page thriller, with his depiction of the Caped Crusader proving particularly memorable. However, it is probably the illustrator’s incredibly detailed drawings of all this terrifying tale’s numerous cold-blooded killers which will linger in any perusing bibliophile’s memory, courtesy of some imaginative panels showing massively-mouthed crocodiles, komodo dragons and snakes all desperately trying to take a chunk out of Bill Finger’s co-creation.

The regular cover art of "BATMAN: URBAN LEGENDS" #19 by Dike Ruan

Zombicide: Day One #1 - Source Point Press

ZOMBICIDE: DAY ONE No. 1, January 2023

Considering just how hard it must have been to convert a Ludo Award-winning collaborative board game into the medium of a comic book mini-series, Luca Enoch and Stefano Vietti’s narrative for Issue One of “Zombicide: Day One” can surely only be viewed as an enthralling triumph. Indeed, the oversized thirty-two-page periodical’s plot is arguably faultless in its pulse-pounding presentation of the dead’s sudden return “to life to devour the living” and all the madness which ensues as an ever-growing group of survivors wade their way through chaos-strewn streets and cadaver-packed public places so as to reach the relative safety of Luke’s Garage.

Admittedly, the publication’s script doesn’t dwell upon what precisely caused the “bacteria going around that makes you feel so sick that turn into a raving lunatic”. But its invigorating pace doesn’t allow for such word-heavy exposition as the audience are thrust right in the thick of things by a pair of brain-hungry corpses as they unexpectedly fling themselves through the glass window of Clancy’s diner and start chomping upon the throats of its customers. So adrenalin-charged a moment comes just as the storyline suggests this opening instalment is potentially going to focus upon people simply disbelieving Ned’s mad ravings about an imminent apocalypse rather than anything quite so dynamic, and resultantly may well catch many a perusing bibliophile off-guard with its savage suddenness.

Equally as intriguing is the writing team’s ability to find the time to flesh out a few of this comic’s quite considerable cast, most notably that of paramedic Diana, whose black and white coloured flashback sequence demonstrates just how swiftly the infection takes hold of her hospital despite its hapless staff’s best efforts to organise a quarantine ward. This grisly nightmare genuinely helps establish just why within hours Wanda and her friends are facing “a city full of zombies” and how, whilst desperately searching for ammunition and supplies, even the tiniest of noises could fatally attract an entire horde of sharp-teethed ghouls.

Working incredibly well alongside Enoch and Vietti are artists Alessio Moroni and Marco Itri, as well as colorist Paolo Francescutto. Together this creative team provide some quite stunning eye candy, most notably whenever the undead are either lurking about in the shadows or hurling themselves at the steadfast survivors with wild, blood-thirsty abandonment; “We’re out of choices… They’re closing in behind us and the only way out is through these.”

The regular cover art of "ZOMBICIDE: DAY ONE" #1 by Luca Bulgheroni & Giorgia Lanza

Book Of Shadows #3 - Valiant Entertainment

BOOK OF SHADOWS No. 3, January 2023

In view of this twenty-page periodical being postponed for four months in September 2022, following the news that its New York-based publisher was sadly undergoing “major editorial layoffs”, quite possibly the biggest question facing fans of Jack Boniface’s super-magical alter-ego when they finally got their hands on Issue Three of “Book Of Shadows” was whether the wait was worth it. And disappointingly, the majority probably felt it wasn’t considering just how bemusing Cullen Bunn’s script is for this titanic team-up against “an ancient, otherworldly warlord”.

To begin with the American author suddenly seems to have turned this mini-series’ central antagonist into a combination of Clive Barker’s Pinhead and Jim Starlin’s mad titan Thanos, by depicting Exarch Fane embracing the painful flesh chains of Death whilst blissfully wrapped in the female skeleton’s fleshless arms. This notion of a besotted super-villain desperately trying to win the affection of so destructive a cosmic entity by murdering as many people as possible isn’t terribly original considering “Marvel Comics” delivered a similar storyline some thirty years ago, and also doesn’t debatably even explain how the situation has given him power over savage, space-hopping werewolves, viciously fanged vampires or the all-powerful Book of Shadows.

Similarly as stumping is Doctor Mirage and the Eternal Warrior’s sojourn to their enemy’s stronghold and an utterly bizarre encounter with some sightless wordsmiths who have disconcertingly decided to use the blood of the fortification’s guards as ink so they can add to the pages of their master’s terrible tome. Sure, this lengthy sequence is as enthralling as it is gruesome with one of the facially mutilated scribes chillingly signalling for the brave adventurers to cease their noise by agitatedly placing a particularly wizened finger to his lips. But along with Persephone’s uncharacteristically strange reluctance to continue her fight against Exarch’s army of ravenous lycanthropes and nefarious Nosferatu, the entire predicament arguably appears to have been penned simply to pad out the storytelling for the publication’s length.

Much more successful than its writing are debatably Vicente Cifuentes’ layouts, which in the main provide this comic with plenty of dynamic, pulse-pounding panels packed full of gratuitously-grisly fights and harrowing murders. Indeed, the beleaguered “mystic heroes” valiant stand on Earth against both werewolf and vampire is undoubtedly the highlight of the book, whilst the Spanish illustrator’s sketches of its more sedentary scenes, most notably those focusing upon Shan Fong as she wanders through the halls of Fane’s bastion, aren’t quite as proficiently pencilled; “They’re telling the story of the Book of Shadows… Building its power… with the blood and souls of our world!”

The regular cover art of "BOOK OF SHADOWS" #3 by Rafael Albuqueque