Absolute Batman #2 - DC Comics

ABSOLUTE BATMAN No. 2, February 2025

Described by “DC Comics” as being something of a ‘rampage’ in its solicitation synopsis, Issue Two of “Absolute Batman” certainly appears to start off well enough with the titular character tackling a truck-load of skull mask-wearing maniacs inside Gotham City’s Aquarium. But once the Dark Knight cleverly outmanoeuvres the numerous Party Animals by dispensing Hydrochloric Acid into the waist-deep water surrounding them, this twenty-four page periodical’s plot debatably gets badly bogged down in a ton of dialogue-driven discussions and childhood flashbacks.

In fact, apart from establishing that Scott Snyder’s “brand-new take” on Bruce Wayne is disconcertingly best buddies with the likes of the Penguin, the Riddler and Two-Face – courtesy of an extraordinary poker game – a fair few Bat-fans will probably find large portions of this publication to be extremely hard-going, especially when it comes to a sedentary stay beside Mayor Jim Gordon’s Hospital room; “What is this world we’ve given them, Mar? When we were their age, we were crazy, sure, thinking we could change it all. But it still felt possible then you know?”

Happily however, this comic does contain some semblance of sense-shattering action towards its end, when Batman teams up with a certain “vigilant MI6 agent” called Alfred Pennyworth, and attempts to evade an ambush by the Black Mask Gang. Surrounded by the whole Gotham City Police Department, this escape bid quickly becomes as exhilarating as its well-penned atmosphere is intense, and only a few bibliophiles will be able to stop themselves gasping in sheer awe when the gigantic Bat-dozer makes a shock appearance.

Similarly as hit or miss as the narrative are debatably Nick Dragotta’s layouts. At times the illustrator and co-creator of “East Of West” is genuinely able to imbue a palpable, pulse-pounding pace into the storytelling by sketching a series of small, punchy panels. However, this technique doesn’t always seem to work, such as during the aforementioned game of cards, and instead can make a scene look incredibly cumbersome and intimidatingly busy – even when it's just covering Bullock unconvincingly suggesting that the Caped Crusader is actually a criminal working in league with the Party Animals.

The regular cover art of "ABSOLUTE BATMAN" #2 by Nick Dragotta & Frank Martin

Teenage Mutant Ninja Turtles [2024] #7 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 7, February 2025

Arguably making this ongoing series’ titular characters even more disagreeable than ever before – at least to one another, Jason Aaron’s script for “this explosive second arc of the all-new era of Teenage Mutant Ninja Turtles” probably wasn’t seen by its audience as the Alabama-born writer turning “the volume up to maximum” as its publisher had hoped. Indeed, if anything this publication’s twenty-two page plot must have proved pretty depressing on account of all the Heroes In A Half-shell getting repeatedly beaten into next week by District Attorney Hale’s baton-wielding goon squad; “Little turtle? Haven’t you gotten the message? We own these rooftops now.”

Of course that doesn’t mean for a moment that Part One of “The Sewers Of Newark” doesn’t contain a captivating dose of martial arts and breath-taking close combat. However, once the four brothers do finally escape the clutches of New York City’s “new Foot-enhanced police force” and relocate to the sewers of New Jersey to eat one of the most rancid-looking, fungi-covered pizzas on the planet, the quartet seemingly do little else except argue with one another. Such rage-fuelled feuding certainly helps keep the deadly warriors apart, thus allowing this comic’s American author to repeatedly have each mutant confront a group of enemies single-handedly. Yet it also starts to wear a little thin on the patience once the likes of Raphael begins furiously berating his siblings for the umpteenth time out of sheer frustration.

Possibly a little more palatable is Donatello’s sub-plot, which depicts the mentally unstable turtle tapping ever deeper into the teachings of his dead father, and rather surprisingly proving himself to be the sanest of the troubled quartet. Whether or not Donnie can actually see and hear the spirit of Master Splinter is a matter for debate. But the shock upon his fellow turtles’ faces when he makes mention of their recent intimate, personal failings as individuals strongly suggests some sort of magical link has in fact been established with the much-lamented Sensei.

New series artist Juan Ferreyra also brings a lot to this book, with some impressive action sequences – most notably those depicting Raphael, Leonardo and Michelangelo taking on a considerable number of Hale’s henchmen during their solo missions. Furthermore, the Argentinian illustrator can really imbue his figures with plenty of personality, such as when a wide-eyed, optimistic Mikey attempts to persuade Donatello to give up his long-deceased sewer rat for a live one.

Writer: Jason Aaron, Artist: Juan Ferreyra, and Letterer: Shawn Lee

Astonishing Tales #30 - Marvel Comics

ASTONISHING TALES No. 30, June 1975

Having impatiently waited four months for Deathlok the Demolisher’s most recent cliff-hanger to be resolved, thanks to its publisher deciding to reprint the Guardians of the Galaxy’s first appearance from Issue Eighteen of “Marvel Super-Heroes” in the bi-monthly’s preceding instalment, readers were probably rather disappointed by this comic's choppy collaboration of various writers and artists when it finally hit the spinner-racks. In fact, despite such a sizeable chunk of time passing before Luther Manning’s cybernetic return, the poor quality of both its script and layouts clearly shows just how badly illustrator-turned-author Rich Buckler struggled with the book’s latest deadline, and was eventually forced to turn to Doug Moench, as well as pencillers Keith Pollard and Arvell Jones, to finish most of the book's eighteen-page plot.

Disappointingly, this dire situation undoubtedly leaves its mark on “The Soft Parade… Of Slow, Sliding Death” with little of the action concerning the reanimated U.S. Army veteran arguably making much sense whatsoever – including the tragic death of Linc Shane who appears to have been thrown into the publication simply so the character could die pointlessly; “He stood up to Ryker’s goons on his own -- all alone… And for what?!” In addition, the comic’s conclusion probably had a fair few bibliophiles shaking their heads in disbelief, as the synthetic killing machine somehow manages to construct a giant crossbow out of disused car parts, and then somehow uses it to fire a metal beam straight into the super-tank which up until this point had seemingly appeared impervious to any and all firearms.

So unconvincing a tale sadly also extends as far as poor Mike Travers sub-story too, with Manning’s “ex-war buddy” apparently being able to simply re-programme the computer keeping him captive using a “sophisticated input card” he crafted inside his cell. Such ingenuity is clearly admirable. But just doesn’t ring true, especially considering that the man’s successful escape attempt is actually monitored by Simon Ryker’s artificial intelligence all along – and it does absolutely nothing to thwart his actions apart from pathetically plea to its pre-occupied creator for further instructions.

Easily this comic’s biggest let down though has to the book’s artwork, which perhaps understandably appears disagreeably inconsistent. The panels Buckler himself appears to have completed are dynamic enough. However, whilst both Pollard and Jones can clearly sketch an action sequence, the “traditional rendering style” of inker Al McWilliams jars quite a bit with some of the other sequences, and resultantly repeatedly takes the audience right out of the story as they have to acclimatise their eyes to his thin-lined embellishments.

Plot, Layout & Script: Rich Butler, Script: Doug Moench, and Art: Rich Butler, Keith Pollard & Arvell Jones

The Incredible Hulk [2023] #27 - Marvel Comics

THE INCREDIBLE HULK No. 27, September 2025

Starting with a seriously sedentary opening which features Bruce Banner’s alter-ego disconcertingly dozing under a woodland tree whilst a young boy noisily plays with a self-made wooden sword at his feet, many a bibliophile probably couldn’t be blamed for wondering what on Earth writer Phillip Kennedy Johnson was thinking when he penned this comic’s somewhat ponderous narrative. Sure, the happy-go-lucky youngster’s father is almost immediately shown to have something of a short-fused temper. But there’s absolutely no suggestion of the genuinely shocking tragedy which has actually already befallen poor Petey when he’s subsequently shown skipping back towards his home; “Daddy builds stuff. But sometimes he gets angry, and we gotta leave again.”

Instead, the American author just slowly starts to add layers to the dynamics of the kid’s dysfunctional, ever-erratic life on board a travelling bus, and the increasingly worrying criminal lifestyle of Henry Lang – who evidently enjoys dealing in stolen goods after work. In addition, the titular character himself is shown as having some serious self-doubts as to whether he truly wants to be left alone after all, and actually appears to be slowly warming up to the notion that perhaps instead of being a monster, the Hulk could become a force for good once again. 

Shockingly though, this dream of redemption is suddenly brought crashing down around the founding Avenger’s ears when he overhears Petey’s dad telling his wife they have to leave Tennessee immediately following a gun-fight with the local Police. Initially, this scene suggests that the boy will simply be left behind to his fate in the forest. However, it soon becomes crystal clear that things are far more sinister than mere abandonment, and that partially buried under “the Falling-Down Tree” is a dark secret infinitely worse than any creature from the kid’s vivid imagination.

Sadly what isn’t as successful as this book’s cataclysmic conclusion is debatably its drawing, with Kev Walker’s pencils proving rather disappointing when it comes to the look of this ongoing series’ titular character. The British illustrator does a first-rate job in depicting the disagreeable violence Henry is willing to subject his poor, ever-loyal spouse to, and resultantly should make the fellow utterly despicable in the eyes of this publication’s audience. Yet the artist's sketches of a long-haired, chisel-chinned Hulk is perplexing at best, and simply doesn’t portray the heavily-conflicted brute all that well – at least until the gamma mutate decides to take revenge upon poor Petey’s unrepentant murderer.

The regular cover art of "THE INCREDIBLE HULK" #27 by Nic Klein

Bring On The Bad Guys: Abomination #1 - Marvel Comics

BRING ON THE BAD GUYS: ABOMINATION No. 1, September 2025

Forming part of its New York City-based publisher’s special event to celebrate fifty years since “Marvel Comics” first released it original collection of “key early stories” featuring some of their most iconic super-villains, Phillip Kennedy Johnston’s script for Issue One of “Bring On The Bad Guys: Abomination” certainly seems to depict Emil Blonsky’s grotesque alter-ego in a highly entertaining light. In fact, rather than try to turn Stan Lee’s co-creation into some kind of anti-hero who ultimately risks all to save a group of hapless archaeology students, this particular publication instead debatably doubles-down on the gamma mutate’s more murderous inclinations.

Furthermore, the American author does an excellent job in underscoring the scaly-skinned former spy’s often ignored mental savvy by imbuing him with plenty of brains as well as brawn. This scheming intelligence genuinely pulls the entire narrative together from beginning to end - especially once it’s been revealed just how many favours the Yugoslavian-born monster has ‘cashed in’ so as to specially “get that [ancient] well dug up”, and have the highly out-of-place analyst Mokinyo specifically put in charge of his probationary mission to explore its deadly depths. 

Of course, the big draw for this twenty-page book's audience is Blonsky’s pulse-pounding battle against “the mighty Grootslang” in a water-logged underground cavern, and frankly the Eisner-nominated writer definitely does not disappoint. Freed from his Wakandan prison cell, this incarnation of the Abomination is as much of a cold-blooded a killer as he ever was, and absolutely annihilates his opponent without any mercy whatsoever. In addition, the two-toed terror doesn’t even momentarily pause in his tracks to rescue the surviving excavators either, and simply leaves them to die of starvation beneath the surface along with the bones of the supernatural being he’s just pulverised; “If you wanted lives saved and kids tucked in, you could’ve brought back your exiled king.”

Also helping enormously to make this comic such a sense-shattering success are penciler Sergio Davila, inker Aure Jimenez and colorist Arif Prianto. Together this creative team genuinely bring the entire story to vivid, animated life – whether it be the excited irritation of the poor professor who first encounters the well a little way “outside our permit zone”, or the sincere, cold-blooded clarity of Emil’s thinking when it comes to simply killing someone with his bare hands just because it's part of his job.

The regular cover art of "BRING ON THE BAD GUYS: ABOMINATION" #1 by Lee Bermejo

The Thing [2025] #3 - Marvel Comics

THE THING No. 3, September 2025

Simply pairing sweet Aunt Petunia's favourite nephew up with a little girl for the vast majority of a twenty-page publication packed full of gun-happy triggermen and super-powered villains might have struck some within this comic’s audience as an odd choice for Tony Fleecs; especially when Ben Grimm has so many notable New York City-based allies with which he can ordinarily turn to in times of trouble. But in doing so, the author rather surprisingly generates a palpable sense of danger throughout this narrative, which genuinely should make most readers uneasy as to whether the faint-hearted adolescent is actually going to survive the book intact.

Indeed, just as soon as Mary’s niece makes a shocking appearance amidst the burning ruins of a dockland warehouse, it arguably seems almost certain that a stray bullet from one of Hammerhead’s goons, or a projectile thrown by the deadly Bullseye, may well end her young life before this mini-series’ titular character has had the chance to rescue her. Such a concern really does stick to the storytelling throughout too, and even increases once the vicious gangster’s threat has been replaced by that of the crowbar-wielding Dirk Garthwaite and his murderous Wrecking Crew; “You four are about to find out that it’s a bad idea to pick on little kids when I’m around.”

Adding to this growing sense of Grimm’s inability to protect the understandably distressed child is Fleecs’ knack to also imbue one of the founding members of the Fantastic Four with his own physical vulnerabilities – such as being completely exhausted from not having slept in days. This fragility is debatably seldom shown in one of the Marvel Universe’s most popular power-houses, and helps highlight that despite all the slugger’s extraordinary strength, he is in reality just one man fighting off a veritable army of criminals – all of which desperately want to claim the ten million dollar bounty on his head.

Sadly, what does slightly let this comic down though is some of Justin Mason’s pencilling, which every now and then depicts the Thing as being disconcertingly smooth and circular in appearance. Obviously such a drawing technique is well-known to help artists work out the composition of their panels, and the location of any figures within it. However, the illustrator seems to incorporate this technique into his actual finished work, and resultantly presents Ben as an unnervingly fluid, ball-headed bruiser, as opposed to his much more irregular, chitinous-covered appearance.

Writer: Tony Fleecs. Artist: Justin Mason & Color Artist: Alex Sinclair

Nightwing #108 - DC Comics

NIGHTWING No. 108, January 2024

Presumably catching many a bibliophile off-guard with Bea Bennett’s secret pirate society being successfully infiltrated by a boatload of traitors, Tom Taylor’s script for Issue One Hundred and Eight of “Nightwing” must surely have got their blood boiling at the way Captain Blud is so poorly treated by her adoptive brother, Dirk. Indeed, the twenty-two page periodical’s plot genuinely emits a palpable aura of perfidy throughout, especially once the steadfastly loyal Lucas is devastatingly dispatched with a cowardly gut-shot whilst entering the supposedly safe Crow’s Nest; “This is the seat of power for the Crossed Keys.”

Intriguingly however, such is the quality of the “New York Times bestselling” author’s penmanship that most within this comic’s audience won’t even see the murderous betrayal coming either, and will instead walk straight into the treasonous trap as readily as Bea’s poor right-hand-man does. So savage a shock is entirely due to the Australian writer fooling the reader into dropping their guard by lulling them into believing Dick Grayson’s former lover is always one step ahead of her mortal enemies – a technique he later doubles down on when Bennett appears to once again be the hunter only to suddenly find her innards on the wrong end of a sword blade.

Quite possibly also adding to the tension is Nightwing’s apparent desire to predominantly remain on the sidelines for much of the adventure, and simply allow events to progress without any influence from Bludhaven’s sworn protector. True, the super-hero does personally detain Travis for trying to assassinate his captain in her sleep. But that particular sequence is debatably played for laughs more than anything else, and it’s not until the (non) costumed crime-fighter confronts Lucas’ killer that he finally takes the centre-stage in his own book.

Artist Stephen Byrne also needs a big shout-out for helping to make “The Crew Of The Crossed” a visual feast for the eyes. The Irish illustrator proves particularly proficient at embedding humour into his pencilling, such as the aforementioned capture of Travis, as well as being able to completely turn a scene upon its head, like when the tongue-in-cheek exchange between Grayson and Lucas dramatically transforms into the scene of a foul, cold-blooded murder.

Writer: Tom Taylor, Artist: Stephen Byrne, and Colors: Adriano Lucas