Thor [2020] #32 - Marvel Comics

THOR No. 32, May 2023

Proudly proclaiming “Thor verses Doctor Doom” in its frustratingly false ‘solicit synopsis’, this twenty-page-periodical’s plot probably disappointed the vast majority of its audience when just such a confrontation fails to materialise. Indeed, rather than portray the two Marvel comic book universe titans “in a battle of wits, morals and, of course… might”, Torunn Gronbekk’s narrative for “Blood Of The Fathers” instead has them travelling down significantly separate pathways; “No one observing the Earth from the outside would ever mistake the human race as intelligent.”

Furthermore, a large portion of this publication dwells upon the disconcerting resurrection of Corvus Glaive by a teenage Laussa Odinsdottir some sixteen years in the future, using “the tiniest speck of his DNA” found upon the super-villain’s trademark hand-weapon. Admittedly, this rather grisly storyline is somewhat intriguing when it’s revealed that Thanos’ revitalised loyal warrior now lacks a soul, and resultantly becomes nothing more than a semi-quivering phantom of his former self who meekly submits to being chained in a corner. But such a resuscitation is lamentably a far cry from the no-holds barred struggle Nic Klein’s energetic cover illustration suggests is contained within this publication.

Perhaps therefore this comic’s sole-saving grace lies with its titular character’s dynamic struggle against Nidhogg, as the enormous cybernetic dragon unsuccessfully attempts to devour the Thunder God as it departs Hel. This incredibly striking drama definitely captures the audience’s complete attention with its flurry of furious frames depicting a grim-faced Odinson, and proves particularly powerful once the malevolent Eater of the Dead turns to attack his would-be hunter, having decided that the blonde-haired Asgardian is actually prey.

Ultimately however, Issue Thirty-Two of “Thor” debatably fails as a result of Juan Gedeon’s layouts, which whilst overall being proficiently pencilled enough, arguably often appear rather amateurish in their simplicity - most notably those sequences depicting Hela as a prisoner of Victor Von Doom in his Latverian laboratory. In addition, whether due to a deadline dilemma or not, the Argentinian artist repeatedly fails to provide his panels with much in the way of any background, relying instead upon either a flurry of hatchings to suggest simple shadows or Matt Wilson to supply a suitable colour progression.

Writer: Torunn Gronbekk, Artist: Juan Gedeon, and Colorist: Matt Wilson

Zombicide: Day One #3 - Source Point Press

ZOMBICIDE: DAY ONE No. 3, March 2023

For those readers utterly oblivious to Source Point Press’s spoiler-filled solicitation synopsis, Issue Three of “Zombicide: Day One” probably took them on a roller-coaster ride of emotions as “the group of survivors take a shortcut through the sewer on their way to save Ned’s friend” and end up losing one of their number in the most tragic manner possible. True, Luca Enoch and Stefano Vietti’s narrative seemingly starts out using its customary combination of ‘quiet before the storm’ wanderings and pulse-pounding flashbacks. But once one of the group gets a little too close to a fast-flowing underground stream full of floating undead, the entire tone of this thirty-two-page publication changes to something much more serious.

Furthermore, the writers adopt the quite novel approach of subsequently telling their tale of terror through the eyes of the now partially-chomped and sadly deceased protagonist as they unwillingly join the horde in its frenzied desire for living flesh. This perspective is both fascinating and a little depressing, especially when the constantly moving cadaver turns a corner, spies their former comrades-in-arms battling away in a zed-filled car park and hungrily assails them; “I’m glad you found us, my friend… This way I can give you a proper death and free you from the horror you’ve become.”

Also well worth noting is this comic’s aforementioned recollection of Keiko’s first encounter with the zombie infection and her tour party’s bloody massacre amongst the relics of the municipal’s museum. Intriguing in its ability to also depict the good-natured Hobo’s daily routine of helping locals in order to obtain the funds for food, this lengthy sequence quickly heats up once the Asian guide grabs an ancient double-handed blade from a display mannequin, and starts slicing apart any grisly ghoul unwise enough to view her as their next meal.

Likewise, the artists Alessio Moroni and Marco Itri are worthy of a standing ovation for all the well-pencilled gratuitous violence they manage to imbue each and every panel with. Indeed, even the most sedentary of scenes, such as Wanda reminiscing about serving her restaurant’s customers apple pie, are laced with palpable tension as the group slowly progress through a world where a rabid pack of teeth and claws is potentially waiting around every corner.

The regular cover art of "ZOMBICIDE: DAY ONE" #3 by Fabio Babich & Tarek Moutran

Moon Knight [2021] #19 - Marvel Comics

MOON KNIGHT No. 19, March 2023

Potentially comprising of the quiet before the storm, Jed MacKay’s narrative for Issue Nineteen of “Moon Knight” certainly contains plenty of word-laden speech bubbles and conversation-heavy set-pieces. In fact, so much of this twenty-page periodical’s plot is dialogue-driven that some readers may well be caught off-guard when the titular character and Doctor Badr’s recently resurrected alter-ego suddenly go all gung-ho so as to surprise Commodore Donny Planet’s sailor-based shenanigans in Subterranea.

Happily however, that doesn’t mean for a minute that “Blood Moon Rising” isn't a beguiling yarn as the after-effects of Khonshu’s long-term incarceration are finally felt by his two modern-day priests, and their immortality whilst in the Egyptian deity’s service is unexpectedly questioned. To be fair, the suggestion that Marc Spector will be persistently brought back from the dead by his god “until we’re feral psychotics” is arguably an all-new concept only recently introduced by this ongoing series’ writer. But having resultantly added an arrogant edge to the West Coast Avenger’s attitude towards risking his life, it certainly comes as something of a shock to so quickly take it away; “Pff. What would he do? Kill me? Nothing new.”

Also adding an increasing element of disconcertion to this publication’s proceedings are the intermittent interviews of Zodiac by Doctor Robert Plesko. Well-mannered and polite in nature, even if the discussion surrounding Cletus Kasady’s sociopathic serial killings is uncomfortably blood-curdling, these consultations persistently promise that Moon Knight’s arch-nemesis is about to break free of his maximum-security prison and once again go on a homicidal, mass-murdering spree. Indeed, at one point the practicing psychotherapist even seemingly goads the mask-wearing prisoner into a fit of pique by assuring him that Moon Knight’s friend Soldier was actually alive and well, even though the cold-hearted criminal had shot him at point-blank range.

Similarly as suspenseful as this comic’s script are Federico Sabbatini’s layouts, which genuinely help add both a sense of restrained malice with Sigmund’s aforementioned exploration of Zodiac’s obsession with “super-villainy”, as well as physical violence once the two Fists of Khonshu have tracked down a band of enslaved Moloids and savagely set-upon the Commodore’s merciless minions. Furthermore, the Italian artist produces some excellent splash-pages, most notably this story’s central protagonists riding atop an underground train en route to the Mole Man’s home, and their subsequent no holds barred battle against Planet’s gang of pitiless slave-drivers.

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

BRZRKR #12 - BOOM! Studios

BRZRKR No. 12, March 2023

Considering that this “epic conclusion to the ground-breaking original series” is a staggering fifty pages in length, it’s doubtful many within this comic’s audience will be particularly impressed with what they read. True, this book’s opening certainly holds true to its publisher’s promise of the nefarious Caldwell facing off against the titular character in a frantically-paced showdown. But by the time Keanu Reeves and Matt Kindt’s script purportedly provides a horrific-looking demise to Diana Ahuja’s treacherous boss at the hands of the cosmically-powered Doctor herself, many a bibliophile will arguably be wondering just where on Earth the rest of his hefty tome is going to take them.

Disappointingly, the answer is seemingly a somewhat sedentary journey towards ‘sequel-land’, where the creative team slowly put in place all the elements needed to establish a follow-up storyline, rather than focus on actually explaining just what happened somewhere in the middle of a Saudi Arabian desert. Indeed, rather than try to explain just how the immortal warrior suddenly becomes corporeal, or why the US Government’s physician is somehow able to utilise extra-terrestrial-based energy waves, this publication instead starts to tell a tale with elements potentially taken straight from the pages of Kenneth Johnson’s screenplay for the 1984 American television show “V: The Final Battle” - such as Diana miraculously giving birth to a baby girl who exhibits both superhuman powers and physically matures at an accelerated rate.

Perhaps this plot’s saving grace therefore lies with the tremendous sense of betrayal generated by this comic’s handling of the ‘powers that be.’ Having declared their overall scheme to cajole Unute into helping them make contact with his creator a success – “mostly”, the authorities cold-bloodedly decide to eliminate all witnesses to their mission, including the now vulnerable Berserker himself. Such treachery really does strike home just how untrustworthy the American administration have become, particularly when handler Jim Keever readily accepts the order to shoot the man who previously saved his own life during a botched military assignment; “I’m sorry son. It’s been an honour.” 

Ultimately, a vast amount of the storytelling inside Issue Twelve of “BRZRKR” rests upon the shoulders of Ron Garney, who unquestionably excels when it comes to pencilling the almost bestial nature of the insanely savage close combat fighting Diana’s ultimate survival entails. However, even the Inkwell Award-nominee appears to struggle to make his panels interesting as this over-sized tome plods ever onwards, most notably towards its end when the American artist has to repeatedly sketch each of its considerably-sized cast stoically standing alone as they look up towards an uncertain future.

Written by: Keanu Reeves & Matt Kindt, Illustrated by: Ron Garney, and Coloured by: Bill Crabtree

Thor [2020] #31 - Marvel Comics

THOR No. 31, April 2023

Publicised by “Marvel Worldwide” as the beginning of “a new arc packed with twists and revelations”, Torunn Gronbekk and Donny Cates’ narrative for Issue Thirty-One of “Thor” certainly appears to deliver the goods when it comes to their plot whisking its audience off on a mesmerising trip through Valhalla and Hel. But for those readers unfamiliar with the Thunder God now owning the title “All-Father”, Odin Borson's spirit living inside Mjolnir and Jane Foster being Valkyrie, this opening instalment to “Blood Of The Fathers” is probably something of a discombobulating jumping on point; “I don’t… I don’t know! You said you’d know what it means!”

Happily however, a crash course in Asgardian orientation isn’t necessarily needed to thoroughly enjoy an enthralling mystery which sees the dead's souls missing from Niffleheim, and Hela’s province overrun by the limerick-loving Valraven – gigantic crows who feast upon corpses foolish enough to stray within reach of their talons or beaks. These creatures provide a decidedly dark storyline with plenty of humour, especially once the formidably-sized feathered creatures are revealed to be nothing but fawning cowards whenever faced with an opponent who can potentially best them.

Equally as entertaining with plenty of tongue-in-cheek dialogue is Odin, who despite simply being penned as an ethereal voice emanating from his son’s hammer, still manages to come across as the imperious and all-powerful Protector of the Ten Realms. Indeed, the writing behind “the king of all stories” is arguably one of this twenty-page periodical’s highlights, as he repeatedly tries to take matters into his own hands by flying out of Thor’s grip and battering any foolish enough to speak unkindly about him. This persistent potential to make an increasingly unpleasant situation even worse proves particularly amusing when Mjolnir is shown repeatedly braining one of the Valraven for daring to joke about the deceased deity once ‘bedding a giant’.

Adding plenty of “Boom” to this book’s events is Nic Klein, whose dynamic pencilling style genuinely appears to suit so grim a tale. The illustrator appears specifically good at sketching the enormous four-eyed black birds who now control Hel, giving the monstrosities all the heft and girth a bibliophile might expect from such skyrise-sized creatures who can swallow a hapless cadaver with a single gulp or attempt to squash the blonde-haired Avenger with an earth-shaking clawed foot.

The regular cover art of "THOR" #31 by Nic Klein

Zombicide: Day One #2 - Source Point Press

ZOMBICIDE: DAY ONE No. 2, February 2023

Somehow managing to capture all the utterly insane carnage of the zombie apocalypse within this oversized, thirty-two page periodical’s plot, Luca Enoch and Stefano Vietti’s storyline for Issue Two of “Zombicide: Day One” must have made many a reader feel as if they were watching the likes of Ned, Diana, Wanda and Julio actually playing through a scenario from the “the critically acclaimed board game.” In fact, the enthralling energy generated by events as the survivors desperately battle their way towards an underground safe house, and intriguingly ‘recruit’ two more slayers of the walking dead along the way, probably left many a bibliophile desperate to clear the kitchen table so as to settle down for a mission or two themselves; “The water’s a bit warm, but if you’re parched as I am, it’ll be heaven.”

Quite possibly foremost of these enticements is Julio Alvarez’s “tragic backstory”, which adds plenty of extra personality to the baseball player. Haunted by his teammates’ gratuitously grisly demise at the end of his bat during a blood-soaked training session, the semi-famous sportsman shows there is much more to him than just a decidedly deadly swing. Furthermore, the athlete must surely have raised a smile with those aficionados of “Guillotine Games” franchise when he almost nonchalantly mentions that some of zeds “are fast as lightning” when he first encounters the speedy Runners.

Similarly as stimulating though are the sense-shattering scenes introducing Hobo and Keiko, just as it appears as if this title’s cast have finally used up their last piece of good fortune “with a legion of the undead at their heels!” Both of these new characters are surrounded in mystery, especially once the entire band begin working their way towards an abandoned subway and their dreadlocked guide hints at intimately knowing the tunnels down there.

Adding tons of dynamism to this comic’s action-packed adventure are Alessio Moroni and Marco Itri, who genuinely seem able to pack every panel with spine-tingling terror and tension, as Ned leads his new friends through the momentarily all-too quiet city streets. In addition, colourist Paolo Francescutto deserves a major pat on the back for the freelancer's superbly ruby-red infected during Julio’s aforementioned black and white flashback sequence.

The regular cover art of "ZOMBICIDE: DAY ONE" #2 by Francesco Rizzato & Giorgia Lanza

Moon Knight [2021] #18 - Marvel Comics

MOON KNIGHT No. 18, February 2023

Despite his script for Issue Eighteen of “Moon Knight” disappointingly not quite evolving into a book-long mass battle between the West Coast Avenger and the Vampire Nations’ bloodsucking elite, Jed MacKay’s “Party Monster” still must have delighted any devotees of the Egyptian deity Khonshu. For whilst the twenty-page periodical is over half-way done before the first Nosferatu is finally fried with holy water, Marc Spector’s understandably tense tête-à-tête with the Structure’s principal, Kenneth, is spellbindingly scribed, and genuinely helps illustrate just how cleverly well-prepared the street-level crime-fighter can actually be when outnumbered by Tutor’s conclave of immortal subjects; “I have never understood why you always have to talk so much.”

Of course, the highlight of the comic is the dynamic fight sequence which rather enjoyably sees the likes of Tigra donning silver claw-caps so as to enhance her impact upon the already sizzled flesh of the sharp-pointed, canine toothed creatures surrounding her. Yet the hubris of Kenneth still debatably makes for a compelling read, particularly once the bespectacled wannabe world leader suddenly realises that he’s not just facing a white-suited super-hero who pummels his opponents with fists and batons, but rather a mask-wearing priest who can easily bless a building’s sprinkler system.

Intriguingly however, the “superstar writer” doesn’t just dwell on events occurring at the vampires’ gathering either, having consigned a portion of this publication to “many floors below” as well. Predominantly dwelling on Soldier’s motivation for following Moon Knight so loyally, this insight into the former Hydra goon’s skill set is prodigiously penned, and whilst she herself says very little throughout the scene, also helps cement the close relationship he’s developing with the Midnight Mission’s receptionist Reese.

Adding plenty of arrogance to Tutor’s overconfident boasts and some swaggering smugness to Spector’s mannerisms as the crime-fighter’s spectacular strike successfully results in all the vampires threatening New York City being wiped out within minutes of one another, is Federico Sabbatini. The Italian illustrator is particularly good at pencilling Kenneth’s fall from grace, as the bearded antagonist suddenly realises “who really owns the night” and pathetically begs Marc to spare his life so he can help “expand your operation” by making him “a god of the streets!”

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