Tag Archives: Marvel Comics

SPIDER-MAN – MAN WOLF AT MIDNIGHT EPIC COLLECTION REVIEW

31 Wednesday Aug 2022

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Spider-Man Man – Man Wolf at Midnight Epic Collection

Review by Paul Bowler

Man Wolf at Midnight is Marvel’s latest addition to their Spider-Man Epic Collection range. Weighting in at a whopping 416 pages of Bronze Age goodness, it heralds a stark era of change for our friendly neighbourhood Spider-Man in the aftermath of what was arguably one of the darkest periods of Peter Parker’s life – the death of Gwen Stacy. There’s also a wealth of iconic events and introductions too as this collection revisits the origins of The Punisher, Man-Wolf, and the Spider-Mobile! This extensive collection features stories from The Amazing Spider-Man #124-142, and Giant Sized Super Heroes, all written by Gerry Conway, and with artwork by Gil Kane, Ross Andru, Paul Reinman, John Romita, Sr., Tony Morello, Jim Mooney, Frank Giacoia, Dave Hunt, and Mike Esposito.

Gwen Stacey’s death hangs heavily over the opening issues, with Peter an emotional wrecks as he struggles to come to terms with his girlfriends demise. Peter’s peers and supporting cast also feature prominently throughout this Epic Collection as they rally round their friend during this difficult time. This inevitably leads to some emotionally fraught moments as Peter begins to crack under the strain of his grief and his wall-crawling adventures as Spider-Man. 

Over the course of this volume Peter finally moves into his own apartment, his relationship with Mary Jane also begins to take shape, all while juggling his studies and work at the Bugle with the ever increasing demands of being Spider-Man. 

Indeed, this Epic Collection is a treasure trove of first appearances and iconic moments for Spider-Man amongst all this personal turmoil, most notably the first appearance of The Punisher, as well as Col. John Jamerson as Man-Wolf, the deadly Tarantula, and the debut of the Spider-Mobile; the super-charged beach buggy Spidey builds with the help of Johnny Storm. On top of all that we have the shocking reveal of Harry Osborne as the new Green Goblin, Aunt May’s not-quite wedding to Doctor Octopus, and the Jackal hatching nefarious schemes in the background. A wealth of other villains from Spider-Man’s colourful rogues gallery feature as well including: The Vulture, Kangaroo, Mindworm, Mysterio, The Grizzly, Hammerhead, Molten Man and Morbuis.

While this Epic Collection might not exactly be up there with the classic runs of Spider-Man comics, there is still loads to enjoy here, and I’m sure plenty of nostalgia for many too as they revisit this formative era of Spider-Man.

About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

PREDATOR #1 (2022) REVIEW

10 Wednesday Aug 2022

Posted by in All, Marvel Comics

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Predator #1 (2022)

Review by Paul Bowler.

The hunter becomes the hunted in Marvel’s long delayed Predator #1, written by Ed Brisson (Iron Fist, Ghost Rider), and with art by Kev Walker (Dr Strange, Doctor Aphra). Considering the immense legacy of the 1987 classic Predator film directed by John McTienan and the numerous Dark Horse Comics mini-series’ fans have enjoyed over the last thirty years, Disney’s absorption of the licensing agreement has now seen this long-delayed new Predator comics series finally become a reality. Writer Ed Brisson’s Predator #1 certainly has a tough act to follow with this new six-part story: Day of the Hunter. Right from the outset we are reintroduced to these extraterrestrial hunters and the sheer power of their advanced weaponry. However, what initially appears to be a smackdown between two raging Predators on a strange alien world is resolved through a surprise twist of fate that has seen the most formidable hunters in the galaxy becoming the prey. Set in the far future, the narrative is interspaced with flashbacks detailing how a young girl, Theta, witnessed the slaughter of her family during a survey mission on a newly discovered world. She grew up and vowed to hunt down the Predators, using their own armour, weapons and tactics against them… determined to hunt down the Predator that killed her mother in cold blood. 

Now Theta stalks the galaxy in her parents same research vessel, with only its AI for company, and a thirst for revenge against the Predator that changed her life forever. When the native lifeforms  on a planet she’s liberated from a Predator turn against her fearing she is actually one of the hunters themselves, Theta is forced to beat a hasty retreat back to her ship and escape into space.

Fortunately Theta salvaged information from the Predator’s vessel that yields some fresh leads on her target, but her ship is in a dire state, systems are breaking down and food supplies are running short. She has no option but to head for Port Medway, but being an outlaw from the authorities in what is technically a stolen ship now presents Theta with a whole new stack of problems to contend with.

Kev Walker’s art may be a tad conventional, but Walker brings a dynamic sense of motion and energy to the action sequences. The page layouts are straightforward and unfussy, which actually works well to highlight the narrative breaks as we follow Theta hunting in the present and confronting her Predator nemesis in the flashbacks. Colorist Frank D’Armata melds vidid tones and hues to accentuate every scene, and VC’s Clayton Cowles ever dependable lettering makes the exposition heavy sections less of a plod and more engrossing to read. After the initial battle between the Predator and Theta, the alien hunters presence is used sparingly. Its a good move as it helps build the suspense through means of the flashbacks, with the Predator using its high-tech camouflage to enable it to pick off the survey team one-by-one, before we finally get to see one up close and personal in all its glory. 

The issue builds to a nerve jangling climax as Theta’s mission forces her to face her greatest fear, in both the past and the present. Its a heartrending moment, and one that will no doubt set the tone of this series moving forward. After such a long delay I wasn’t honestly expecting much from this new Marvel Comics  Predator series, but I was pleasantly surprised at how good it actually turned out to be. Predator #1 gets off to a cracking good start, Ed Brisson and Kev Walker have ultimately proved to be an inspired creative team for this book, and there’s plenty that fans and newcomers alike will find to enjoy here in their bold new take on the Predator franchise. 

Publisher Marvel Comics

Writer Ed Brisson / Artist Kev Walker

Colorist Frank D’Armata / Letterer VC’s Clayton Cowles

Main Cover Leinnil Francis Yu & Sunny Gho

About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

New Amazing Spider-Man #1 (2022) Review

27 Wednesday Apr 2022

Posted by in All, Marvel Comics

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Amazing Spider-Man #1

Review by Paul Bowler

So, what exactly did Spider-Man do web heads? That’s the burning question behind Marvel’s April 27 relaunch of Amazing Spider-Man #1 (2022), as Peter Parker’s life spirals out of control in the run up to Spider-Man 60th Anniversary celebrations. Probably the biggest draw for this latest reboot is acclaimed Spider-Man artist John Romita Jr’s return to Marvel after a long stint at DC, and that this run also sees the return of JR.JR.’s longterm inking collaborator Scott Hanna as well. 

Amazing Spider-Man #1 also sees fan favourite writer Zeb Wells – who spearheaded the ASM Beyond storyline — taking up the reins for his first solo run on a Spider-Man title. The issues starts with a bang, or at least the aftermath of some game-changing event for the wall crawler, before fast forwarding six months to where we discover Peter is well and truly down on the old Parker luck again, and this time it looks like there might be no way back for him. He’s at odds with the Avengers and the FF, dodging debt collectors for medical bills, there are rifts with his friends, MJ doesn’t want anything to do with him, and even Aunt May has cut him loose. Throw in the imminent threat of a gang war between Tombstone and the Rose, with Doctor Octopus scheming in the background along with a new mystery villain, and it quickly become apparent why Peter isn’t exactly behaving like a friendly neighbourhood Spider-Man these days.

Art wise John Romita Jr. brings his A-game to the table, with his distinctive angular line art totally firing on all cylinders here to give the book a highly stylised look and feel. JR.JR’s art style is one that people either love-or hate, but I feel it totally suits the somewhat downbeat air of mystery and suspense that Zeb Wells is clearly striving to hook us with and get everyone on board for this new era. John Romita Jr’s work is perfectly complemented by Scott Hanna’s intricate inking style, and together they nail some great character moments and hit all the right emotional beats, especially the scene where the Human Torch drops in to see how Peter’s doing, and the big action-set piece where Spider-Man takes on the Gamma-irradiated gangster Digger is another highlight. The vibrant colors by Marcio Menyz also really stand-out, and ASM lettering aficionado Joe Caramagna does a fantastic job with making this issues dialogue heavy sequences flow smoothly.

Fanfare and hype aside Amazing Spider-Man #1 certainly provides a good set-up for something that has a lot of potential — especially if that jaw-dropping reveal at the end of the issue is anything to go by! Did we really need another relaunch and volume of Spider-Man? Well, probably not, but then that’s modern comics these days. I did enjoy the story and the art in Amazing Spider-Man #1 a lot more that I was expecting to be honest. I will certainly stick with it for a few issue and see where it goes from here. My only real concerns are the big plans Marvel have coming up for Spider-Man, the X-Men, Avengers and Eternals that will apparently begin to unfold in their Judgement Day Free Comic Book Day special, especially what’s apparently in store for MJ and Peter – which I find particularly unsettling.  Until then I’ll be looking forward to seeing how this new Amazing Spider-Man volume shapes up in the months ahead, this book has a great creative team, here’s hoping they can deliver on the promising start they’ve made here with this first issue.

About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

Publisher Marvel Comics / Writer Zeb Wells

Artist John Romita JR. / Inker Scott Hanna

Colorist Marcio Menyz / Letterer VC’s Joe Caramagna

Cover Artists JR.JR, Scott Hanna & Marcio Menyz 

Shang-Chi and the Legend of the Ten Rings Film Review

07 Tuesday Sep 2021

Posted by in All, Film Reviews

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Shang-Chi and the Legend of the Ten Rings

Review by Paul Bowler

Shang-Chi and the Legend of the Ten Rings is a spectacular new Asian led chapter in the next phase of Marvel’s highly anticipated wave of post Endgame movies, and also a much needed breath of fresh air for the Marvel Cinematic Universe. Staring actor and stuntman Simu Liu as Shang-Chi, who post blip is using the alias of Shaun while working as a hotel valet in San Francisco, together with his best friend Katy (Awkwafina). When they are suddenly attacked by the deadly Razor Fist (Florian Munteanu) and his henchmen, Shang-Chi has no choice but to reveal his true identity and return home to face the demons of his past, including his father, Wenwu (Tony Leung), who just happens to be the centuries old super-villain leader of the Ten Rings organisation!   

Director Destin Daniel Cretton stylishly blends the superhero fantasy and martial arts action. The frenetic fight sequences are beautifully choreographed, with Simu Liu performing many of his own stunts, and as origin stories go Shang-Chi and the Legend of the Ten Rings is a great addition to the MCU line-up. The saga of the Ten Rings, the mystical weapons that grant their owner great power and immortality, is intricately woven into the narrative, and Shang-Chi’s fears his that estranged sister Xu Xialing (Meng’er Zhang) will also be targeted sees him race to Macau with Katy to find Xialing.

The plot hardly pauses for a moment from the outset. Highlights included a Jacky Chan like sequence on a skyscraper swathed in bamboo scaffolding, there’s a cage fight between Wong (Benedict Wong) and the Abomination (voice by Tim Roth), a daring Speed-style chase unfolds through the streets of San Francisco, and a bombastic finale of epic proportions round off Shang-Chi’s MCU debut in fine style.

Simu Liu effortlessly makes the role Shang-Chi his own, while Awkwafina’s scene stealing turn as Chi’s comic sidekick ensures there’s plenty of fun moments interspaced between the frenetic action. There’s some father son angst that gives the plot added depth, sacrifices are also made, and everything builds to a fittingly spectacular – if somewhat CGI heavy – climatic  mystical showdown. The supporting cast is excellent as well, although I felt the addition of Sir Ben Kingsley’s character Trevor Slattery (the faux Mandarin from Iron Man 3) was a little bit superfluous.

As Marvel Studios first film with an Asian director and a predominately Asian cast, Shan-Chi and the Legend of the Ten Rings is a fine exploration and representation of Asian culture, and a visually impressive and exciting MCU film on every level. There are plenty of Easter eggs and MCU references to past movies and future Phase Four projects to enjoy as well. This film may not be as game changing as Black Panther, but it was way more fun than Black Widow! Shang-Chi and the Legend of the Ten Ring is a good all-round action-adventure film in its own right, the dazzling martial arts fight sequences will blow yu away, and the post credit scenes (featuring some fan pleasing cameos) bring the character of Shang-Chi even further into the wider mythology of the Marvel Cinematic Universe.

About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

Amazing Spider-Man #64 Review

21 Wednesday Apr 2021

Posted by in All, Marvel Comics

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The Amazing Spider-Man #64 Review

Review by Paul Bowler

The Amazing Spider-Man #64 finds Tombstone and Robbie Robertson at loggerheads yet again and Spider-Man’s life is getting trashed in the crossfire as a result! Mind you with Pete and his roommate Fred Myers (AKA. Reformed super villain  Boomerang), teaming up with Spidey to keep the pieces of the all-powerful Lifeline tablet out of the Kingpin’s clutches, and Peter’s other roommate Randy Robertson dating Tombstone’s daughter, Janice Lincoln (the Beetle), its little wonder Spider-Man’s life is a tad chaotic right now!

Nick Spencer continues to steer the series back towards a more scattershot, back-to-basics and fun approach to Spider-Man’s world that was so indicative of the early stages of his run. The first half of “King’s Ransom Part Two” is a frenetically paced blend of recap and cliff-hanger fallout after Madame Masque and Crime Master ambushed Randy and Janice back at Pete’s apartment — which was interrupted when Peter and Fred suddenly returned home. The ensuing fight details how Spider-Man managed to enter the fray — with Peter cleverly managing to protect his secret identity — while safely sidelining Fred but also failing to prevent Randy and Janice being kidnapped. 

Amazing Spider-Man #64 features slick artwork from Federico Vicentini, with Alex Sinclair on colors and lettering by Joe Caramagna. The pace of the action hardly lets up for a moment. Every page is dynamically structured, vibrantly illustrated and accentuated with a striking  pallet of color. Spidey’s battle with Madame Masque and Crime Master in the apartment offers further insight into the abilities of Spider-Man’s new high-tech suit (courtesy of JJJ’s Threats & Menaces podcast). The suit enhances Spider-Man’s strength, agility, web shooters, and also enables TNM’s subscribers to livestream Spidey’s adventures — at his discretion of course — and this quirky modern twist on Peter’s old job selling photos of Spidey to the Bugle has boosted Spider-Man popularity in NYC (much to the Kingpin’s annoyance) and sent JJJ’s channel subscribers though the roof!  I quite like the new costume, although I’m not overly fond of the Social Media slant to it all that much. Mark Bagley’s cover impressively showcases the current story line, however, it features Spidey in his classic suit, which seems a bit strange given all the time Marvel spent building hype about the new suit — guess this cover was commissioned before the new suit was revealed or decide on? 

The one thing I’ve really like about Spencer’s time on Spider-Man is the humour peppered throughout the dialogue and the fun dynamic between all the characters and situations they stumble into. This issue is no exception to that rule. The bromance between Peter and Fred has  also been a real highlight, and there are some especially moving moments this issue as Fred decides to take matters into his own hands against the Kingpin’s plans. Given all the years of bad blood between them, having Robbie and Tombstone set aide their differences — for now anyway — also leads to some fun hijinks as they try to track down Randy and Janice – as for the happy couple, well, as you’d expect there’re still bickering like crazy and testing their captors patience to the limit!

If all that wasn’t enough we also have the Kingpin’s scheme to assemble villains to send against Boomerang and Spider-Man, along with sinister machinations involving Kindred and Baron Mordo behind the scenes, and an ominous hint towards the Sinister War that’s coming in July thrown into the mix as well. While this issues not the best jumping on point, it does bring a lot of longstanding plot threads together, and sets up some intriguing possibilities. If you’ve stuck with Spencer’s run this long you’ll find plenty to enjoy here, while newcomers will find Amazing Spider-Man #64 crams in a hell of a lot but still manages to be a fun and enjoyable — if somewhat overwhelming — read nevertheless.

Publisher Marvel Comics

Writer Nick Spencer / Artist Federico Vicentini

Colorist Alex Sinclair / Lettere VC’s Joe Caramanga

Cover Mark Bagley, John Dell, and Edgar Delgado

About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

X-Men #18 Review

24 Wednesday Feb 2021

Posted by in All, Marvel Comics

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X-Men #18

Review by Paul Bowler.

The secrets of the mysterious Vault are finally explored in X-Men #18 from writer Johnathan Hickman, artist Mahmud Asrar and colorist Sunny Gho. It has been a long time since this team of specialist agents were sent by the Quiet Council of the Mutant nation of Krakoa to investigate the Vault – a place where time moves differently and a chronal lock makes it impossible for anyone to rescue them. 

Along with the central premise of establishing the new Mutant Island nation of Krakoa, Johnathan Hickman’s relaunch of the X-Men, which began with House of X and Power of X, also revealed that Professor X’s long-time friend, Moria MacTaggert was really a Mutant with a Groundhog Day style power that allowed her to relive multiple irritations of her timeline. Having spent many lifetimes trying to advance the X-Men’s cause and rebooting the timeline each time to learn from their setbacks, House of X and Power of X saw Moria discover that the ultimate threat and suppression of Mutantkind rested with an artificial intelligence that would be created in the distant future – Nimrod. 

So when a Child of the Vault managed to escape from the Vault – a technological marvel that uses time dilation and advanced technology to alter humans — the X-Men sent the Mutants Darwin, Wolverine (Laura Kinney) and Synch to South America to enter the Vault and assess the potential threat, along with the capabilities of the children, and uncover any inherent weaknesses in the children’s powers or the Vaults remarkable technological infrastructure. The only trouble is the team never returned. They’ve been gone for months, but as time moves differently inside the Vault, Darwin, Wolverine and Synch have now actually been inside the Vault for centuries!

The ongoing narrative of Hickman’s new X-Men run has sometimes felt less of the compelling blend of fresh ideas and innovative character arcs that spun our of House of X and Power of X, and more like a case of two-steps forwards and two-steps back as branches of the storyline unconsciously folded back over itself or became diluted with meandering events like X of Swords. Hickman is keeping a lot of plate spinning — some more successfully than others — but so far its been enough to keep everyone guessing and excited about where all of this is essentially  going for the X-Men.

Darwin, Wolverine and Synch entered the Vault way back in X-Men #5, now with X-Men #18 Hickman is finally addressing this tantalising plot thread, and he certainly doesn’t disappoint with the often bizarre and mind-boggling revelations that are divulged thick-and fast throughout this issue with almost serendipitous glee. Having this issue narrated via Synch’s recollections of events is also a clever move by Hickman which organically drives the plot from key selective viewpoints, with the inner machinations of the Vault and the motivations of the Children of the Vault converging on parallel lines with the X-Men’s incursion, and the series’ now iconic bullet-point style info-graphics filling in the blanks — especially the insightful information concerning the evolution of Synch’s powers post resurrection and what this could mean for mutant kind going forward.

This team was selected for their unique survival abilities: Darwin can adapt to any life-threatening situation, Wolverine has her healing-factor, and Synch can duplicate their powers. They were ideally suited to this mission, especially as there was no way back if things went wrong (which of course they did), and X-Men #18 details what happened in the initial moments of the relative 537 years that the team have effectively been missing. The Children of the Vault are purportedly the true heirs of the world, meant to be vastly superior to humans and Mutants, so how they react to the “wild gods of the outside world” proves decidedly disturbing, and the technological wonders of the  Vault are an uncanny challenge in itself for the X-Men’s team to experience — let alone  fully comprehend. 

Artist Mahmud Asrar and colorist Sunny Gho give substance and clarity to the finer vagaries of Hickman’s storyline, with hauntingly futuristic landscapes, advanced machinery and technological interfaces, and the almost palpable mix of awe and trepidation the team experience permeates every page. Asrar does a fantastic job of rendering these powerful emotional moments as the mysteries of the Vault begin to unfold, with intricate, sweeping page-layouts seamlessly condensing the narrative, there’s an action-packed encounter between the X-Men and the Children of the Vault that is also impressively realised, while Sunny Gho’s subtle use of delicate tones and shade brings an almost spiritual quality to the teams journey into the unknown and the ensuing centuries of discovery that await.

It has felt like a hell of long wait for Marvel’s flagship X-Men title to finally get back to addressing the mystery of the Vault and the fate of Darwin, Wolverine and Synch after they failed to return. In that respect X-Men #18 certainly gets the ball rolling again, even though it frustratingly poses just as many questions as it answers. However, if you’ve stuck with Hickman’s new X-Men this far your patience is rewarded as X-Men #18 finally gives us a clear sense of progression, and in that respect above all it delivers in spades. 

Publisher Marvel Comics

Writer Johnathan Hickman / Artist Mahmud Asrar 

Colorist Sunny Gho / Letterer VC’s Clayton Cowles 

Design Tom Miller / Cover Leinil Francis Yu & Sunny Gho

About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

Immortal Hulk Flatline Review

17 Wednesday Feb 2021

Posted by in All, Marvel Comics

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Immortal Hulk Flatline 

Review by Paul Bowler

Expanding on the dark saga of The Immortal Hulk, Marvel’s one-shot Immortal Hulk Flatline, written and drawn by Declan Shalvey, delivers a tale that smashes into the heart of all things Gamma! At the dawn of ever day, Bruce Banner awakens in a new place. Perhaps the Hulk is trying to tell him something? Banner has grown tired of his green-skinned alter ego, but when a new gamma-powered villain suddenly arrives in a New Mexico town he has no choice but to confront his anger, and the terrifying results are far from anything Bruce Banner could ever have predicted…

Few comics have enjoyed or can compare to the success and critical acclaim that The Immortal Hulk has enjoyed in recent years. Al Ewing and Joe Bennet – along with a number of guest artists — have redefined the character and by taking him back to his horror roots. However, Marvel were somewhat caught off guard by the unprecedented success of The Immortal Hulk, so with the series’ end  already set and established to happen with its fiftieth issue, their response was the commission of a series of one-shots by esteemed writers and artists to bring us further standalone stories from this hugely popular era of the Hulk. 

One the most eagerly anticipated of these one-shots has been Immortal Hulk Flatline by the acclaimed Irish creator Declan Shalvey who is doing both the writing and the art for this one-shots intriguing storyline. Known for his pin-sharp, striking visual style, and fine writing skills, Shalvey brings all his skill to bare on crafting something uniquely special for the Immortal Hulk Flatline. While Ewing’s and Bennet’s main series rumbles towards its conclusion, Declan Shalvey steers the narrative back to reexamining the dark schism that fuels the conflict between Banner and Immortal Hulk, with the green behemoth deposing Banner at different locales around the country, seemingly intent on drawing his attention to something that Banner is still desperately struggling to define. 

Of course that’s only part of the mystery at the heart of Immortal Hulk Flatline. The other is Banner’s chance meeting with his old friend and college lecturer on Gamma radiation, Professor Noonan. This haunting encounter leads into the discovery of a new gamma-powered adversary that Banner and the Immortal Hulk inadvertently come into conflict with. Shalvey brings some new and unexpected insights to the core themes of Al Ewing’s ground-breaking run on The Immortal Hulk, casting new light on the chilling dynamic of the series’ initial premise, and the existential common goal that ultimately drives Banner’s pantheon of alters. 

Handling the role of writer, artist and colorist like this is quite a responsibility and Declan Shalvey does so with considerable style and verve. The artwork is indeed a veritable tour de force by Shalvey, his Immortal Hulk is a distilled version of Joe Bennet’s horror themed grotesque, and more of a chiselled, brutish thug, but his Immortal Hulk persona is still every bit a darkly menacing powerhouse to be reckoned with. The new Gamma irradiated villain that Hulk battles in this one-shot possesses telekinetic-like Gammer abilities, which are used to devastating effect as their savage no-holds-barred conflict crashes from page to page across a plethora of dynamic and stylish page layouts. Petit’s lettering is bang on point as well for what is actually quite a dialogue intense issue. Shalvey also employs a masterful use of color, using muted tones to highlight the drudgery of the dead-end jobs Banner takes on to blend into the background, while vibrant colors accentuate the explosive battles, and somber hues Convey the shared reckoning of the emotive climax. 

Declan Shalvey has achieved an astonishing feat with this one-shot special. The fact Shalvey’s brought so many quintessential elements of the series together is remarkable in itself;  that he’s also made them resonate so well in such a glorious fusion of story and art makes The Immortal Hulk Flatline one-shot one of the early high-points of 2021 and a fine addition to the enduring legacy of the Immortal Hulk.

Publisher Marvel Comics

Writer & Artist Declan Shalvey

Letterer VC’s Cory Petit

Cover Declan Shalvey

About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

Star Wars: Darth Vader #10 Review

11 Thursday Feb 2021

Posted by in All, Marvel Comics

≈ 12 Comments

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Darth Vader #10

Review by Paul Bowler.

Having endured the Emperor’s wrath and survived the test of the Eye of Webbish, the Dark Lord of the Sith’s ordeal continues in Star Wars: Darth Vader #10 with a terrifying confrontation with the Red Horror in the depths of space! As Imperial forces close in, the greatest predator in the galaxy is now the only thing standing in the way of Vader’s quest to uncover the Emperor’s greatest secrets!

The action and drama are almost palpable in Marvel Comics Star Wars: Darth Vader #10 (2020-), as writer Greg Pak steers the Dark Lord’s journey into the realms of action-packed star-fighter combat and dark psychedelic horror. Vader has already survived his brutal punishment for defying the Emperor, then being stranded on Mustafar where he rebuilt his cybernetic shattered body, before fighting the assassin Ochi, waves of droid mercenaries, and tackling the bizarre trial within the Eye of Webbish Bog. Now, having taken his old star-fighter and Ochi along for the ride, Vader set course for the planet Exegol – where the Emperor’s darkest and most insidious secrets are waiting to be discovered. 

Trouble is the only route to Exegol is through the Red Nebula, forcing Vader to navigate his way past a trio of Imperial Star Destroyers commandeered by administrator Umbaran and the monstrous Summa-Verminoth that lurks within the nebular. Pak’s scripting and characterisation is bang on point, with the Imperial’s cold and calculating facade wavering in the face of Vader’s relentless determination, while Ochi’s snarky quips punctuate the tension with plenty of wry humour as Vader and his unwitting prisoner continue to make a surprisingly efficient — if rather fraught — double-act.

The art by Raffaele Ienco is gloriously detailed and almost  feels cinematic in its rendering of the huge scope and scale of events in this issue. Vader’s iconic look is now very different with his limbs and cybernetics rebuilt from the junk found on Mustufar – giving the Dark Lord a more gritty appearance. The space combat with the TIE fighters is also impressive and puts you right in the heart of the action. However, it is the Lovecraftian appearance of the grotesque leviathan Summa-Verminoth itself, whose attacks are both physical and psychological, and  Vader’s dream-like journey through classic scenes of the Star Wars saga past, present, and possible future where Vader confronts his worst nightmare that are truly mind-blowing. Ienco’s artwork is also beautifully enriched by colourist Neeraj Menon’s exquisite use of tone and shade throughout, and the cover by Arron Kuder and Richard Isanove presents a hauntingly bleak snapshot into this most mesmerising aspect of Vader’s journey so far during this Into The Fire story-arc.

One of the caveats the Emperor decreed at the start Vader’s fall from grace, was that Vader was prohibited from using the Force to help him during these trials, and that doing so would mean his death. It is this pivotal limiting factor for the Dark Lord of the Sith that now crucially plays a key factor in the climatic scenes of Darth Vader #10, where immovable force finally quite literally meets immovable object as the quasi-nihilistic rhetoric of the Dark Side ultimately tips the scales for the victor.

Into The Fire Part V: The Red Horror reaches a major turning point in this compelling storyline, and the creative team on this book continue to impress on every level. Star Wars: Darth Vader #10 transcends the conventional perceptions of Darth Vader’s legacy with a skilful reframing of reality,  one that juxtaposes  Vader’s destiny with that of his son, and brings the Emperor’s darkest secrets within striking distance at last!

Publisher Marvel Comics

Writer Greg Pak / Artist Raffaele Ienco

Colorist Neeraj Menon / Letterer VC’s Joe Caramagna

Cover Arron Kuder & Richard Isanove

About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

Doctor Strange Epic Collection: Alone Against Eternity Review

28 Thursday Jan 2021

Posted by in All, Marvel Comics

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Doctor Strange Epic Collection: Alone Against Eternity

Review by Paul Bowler.

Marvel Comics Doctor Strange Epic Collection: Alone Against Eternity collects a magical mix of Bronze Age talent. In this trippy, spellbinding mid-’70’s voyage through the mystic arts, some of Doctor Strange’s most iconic adventures are brought to life by the wondrous talents of Steve Englehart, Marv Wolfman, Jim Starlin, Gene Colan and P.Craig Russell.

Steve Englehart and Gene Colan arguably crafted some of the most breathtaking and classic Doctor Strange storylines of all time. For when Dormammu and Umar and Eternity sweepingly declares that the very end of time itself is imminent. In order to save the world and reality as we know it Stephen Strange will have to confront the most uncanny threat of all – himself! This enchanting and mind-bending saga remains one of my favourite Doctor Strange, and its a delight to revisit it here in this collection.

Also here is the conclusion to Englehart’s run, the spine-chilling Dracula crossover, a trip to hell, and the Time Travelling Occult History of America. Then the brilliant Marv Wolfman and Jim Starlin enchants us with an outstanding confrontation between Doctor Strange and Xander the Merciless and Clea gone mad! With a reality twisting descent into the uncanny Quadriverse, we then reach an unparalleled reckoning as Stephen Strange confronts his status as the Sorcerer Supreme! As if all that wasn’t enough, there’s a gorgeously illustrated annual by co-writer / artist P.Craig Russell to enjoy as well!

With its mesmerising storylines and impressive artwork the Doctor Strange Epic Collection: Alone Against Eternity is a sumptuous mix of arcane wonder and bewitching spectacle on every level. Collecting Doctor Strange (1974) 6-28, Annual (1974) 1 and Tomb of Dracula (1975) 44, this Epic Doctor Strange volume of classic stories is sure to cast a spell over fans old and new alike.

About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook

Amazing Spider-Man #55 Review

30 Wednesday Dec 2020

Posted by in All, Marvel Comics

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The Amazing Spider-Man #55

Review by Paul Bowler.

Last Remains concludes in Amazing Spider-Man #55 with an epic showdown between Spider-Man and Kindred! Its a battle that will shake Peter Parker’s world to the core, but the fallout from Kindred’s diabolical scheme could prove even more devastating for Spider-Man and those he loves…

So, after lurking in the shadows for nearly two yeasr, Kindred’s identity was finally revealed as none other than Norman Osborn’s son, and Peter’s old friend, Harry Osborne! After tormenting his old pal for what Harry perceived as Peter “sins,” namely his inability to stop Norman from causing chaos as the Green Goblin throughout their lives, Kindred beat Spider-Man to a bloody pulp, killing and reviving him over and over until restoring Peter’s life one last time to reveal the endgame of his grand plan — and to Peter’s horror it involves Mary Jane!

Writer Nick Spencer brings the chilling Last Remains storyline to a nerve jangling finale  with Amazing Spider-Man #55 as the final battle unfolds in the crypt at the Osborne family cemetery. Spider-Man’s Spider-Friends, Spider-Gwen, Spider-Woman, Spider-Girl, Miles Morales, and Madame Web have also been captured by Kindred, and Peter can now only watch helplessly as Mary Jane is  inexorably drawn into Kindred’s ghoulish web of vengeance. Events are brought to a cataclysmic head as Peter and Harry’s lifelong friendship is put under the microscope, uncomfortable home truths are finally aired over a grisly last supper, and old wounds get reopened with devastating results for all concerned.

I’ve really enjoyed the work of artist Patrick Gleason and colorist Edgar Delgado on this series and they’ve done a terrific job with this issue as well. Gleason’s art perfectly captures the grim tone of this story. Every page resonates with atmosphere and menace as Kindred’s dark schemes are given centre stage, with dynamic page layouts stylishly conveying the brutal action scenes, while Edgar Delgado’s masterful use of tone and shade accentuates the brooding air of dread, and the tense filled final moments are all brilliantly rendered in such a way that you almost  feel  a part the plight which Peter faces.

The ingenious way that Spencer throws a curveball move from some old foes as well as MJ into the mix for this final chapter of Last Remains is brilliantly done. Rounding everything off with an edge-of-your-seat cliffhanger was also a bold move — especially considering the revelations in this issue — and no doubt this storyline could well have wide reaching ramifications for the wall crawlers future. All in all, after a bit of lull during the recent glut of Marvel’s big comic book events and crossovers, I think Last Remains has really set Nick Spencer’s run on Amazing Spider-Man back on track. I’ve throughly enjoyed it and consider it one of the best comic storylines I’ve read in 2020.

While we await what’s in store for Spider-Man in the aftermath of Last Remains, Marvel have also given fans their first look at Spider-Man’s all new costume that Spidey will wear beginning with March’s Amazing Spider-Man #62 by Nick Spencer and Patrick Gleason and Aprils Amazing Spider-Man #63 — the costume is designed by Dustin Weaver, who also illustrates the variant covers for Amazing Spider-Man #62-#63 and was a collaborative effort with Spencer and Gleason. The new costume has a distinctly sleek, high-tech look to it, and I have a feeling it will be something fans will either love or hate. Personally I don’t mind it, I think its ok, I like the Spider-Noir style eyes, and the color scheme, though somewhat quirky, oddly seems to suit Spider-Man quite well.

Well, there we have it. My final review for 2020, and what a year its been hasn’t it? The Covid 19 pandemic has certainly turned our world upside down, tragically the death toll of this awful virus is still far from over, but the vaccine now offers hope. I’ve found the lockdowns tough, we’re still under almost lockdown conditions here in the UK, and that’s sadly meant that Christmas has been more of series of Zoom chats than the normal family get togethers I look forward to every year. Thank you for being there. Thank you for all your continued support of my blog and everything that I do, it means so much to me, to have this little corner of the internet to ramble on about comic books, films and TV shows like I do, and here’s hoping that 2021 brings better times for a us all. 

Publisher: Marvel Comics

Writer: Nick Spencer / Artist: Patrick Gleason

Colorist: Edgar Delgado / Letterer: VC’s Joe Caramanga

Cover: Patrick Gleason and Edgar Delgado

About The Author

Hi, I’m Paul Bowler, blogger and reviewer of films, TV shows, and comic books. I’m a Sci-Fi geek, a big fan of Doctor Who, Star Trek, movies, Sci-Fi, Horror, Comic Books, and all things PS4.You can follow me on Twitter @paul_bowler,or at my website, Sci-Fi Jubilee, and on YouTube and Facebook