Predator vs Black Panther


By Benjamin Percy, Chris Allen, Sean Damien Hill, Lee Ferguson, Craig Yeung, Jonas Trindade, Erick Arciniega, VC’s Travis Lanham & various (20th Century Studios/ MARVEL)
ISBN: 978-1-3029-6034-6 (TPB/Digital edition)

Win’s Christmas Gift Recommendation: Purely Perfect Irresistible Primal Pandering… 8/10

Although I’ve striven long and hard(ish) to validate and popularise comics as a true art form here and elsewhere, it’s quite hard to escape one’s roots, and every so often the urge to revel in well-made, all-out mindless violence and crass commercialism confidently assuming it is what the reader wants just takes me over. If there’s a similar little kid inside you, this unchallenging, no-brainer team-up property might just clear the palate for the next worthy treat I’ll be boosting…

Predator was first seen in the eponymous 1987 movie and started appearing in comic book extensions and continuations published by Dark Horse with the 4-issue miniseries Predator: Concrete Jungle spanning June 1989 to March 1990. It was followed by 39 further self-contained outings and (by my count thus far) 14 crossover clashes ranging from Batman and Superman to Judge Dredd, Archie Andrews and Tarzan, keeping the film franchise alive and kicking whilst actual movie iterations waxed and waned. We’ll no doubt be adjusting those figures soon enough, but two of the most recent involve stalwart comic stars with their own movie machismo: Wolverine and Black Panther

The core premise started simply enough. For countless millennia a race of beings that prize hunting, trophy-taking and bragging rights/“honour” over all else have been using Earth – and by extension other worlds and civilisations – as private sports preserves. These “Yautja” – who prefer to stalk hotter climes – come to our world expressly to test themselves and to thrill to the heady rush of killing animals…

The Black Panther rules over a fantastic African paradise which isolated itself from the rest of the world millennia ago. Blessed with unimaginable resources – both natural and not so much – the nation of Wakanda developed unhindered by European imperialism into the most technologically advanced human nation on Earth. It has never been conquered, with the main reason being an unbroken line of divinely-sponsored warrior kings who safeguard the nation. The other is a certain miraculous super-mineral found nowhere else on Earth…

In contemporary times that chieftain is (usually) T’Challa: an unbeatable, physically perfect feline-empowered strategic genius dividing his time between ruling at home and serving abroad in superhero teams such as The Avengers and The Ultimates beside costumed champions like Iron Man, Mr. Fantastic, Thor, Captain Marvel and Captain America. However, in this version he’s a proud and defiant isolationist…

Acclaimed as the first black superhero in American comics and one of the first to carry his own series, the Black Panther’s popularity and fortunes have waxed and waned since he first appeared in the summer of 1966. As originally created by Jack Kirby & Stan Lee T’Challa, son of T’Chaka was an African monarch whose secretive kingdom is the only source of vibration-absorbing wonder mineral Vibranium. The miraculous alien metal – derived from a fallen meteor which struck the continent in lost antiquity – is the basis of Wakanda’s immense power and prosperity, allowing the isolationist nation to become one of the wealthiest and most secretive on Earth. When T’Chaka was assassinated by white invader Ulysses Klaw, these riches enabled the young king to radically remake his country, even more so after leaving Africa to fight as an Avenger.

For much of its history Wakanda was a phantom, utopian wonderland with tribal resources and people safeguarded and led since time immemorial by a warrior-king deriving cat-like physical advantages from secret ceremonies and a mysterious heart-shaped herb. This has ensured the generational dominance of the nation’s Panther Cult and Royal Family. The obsessively secured “Vibranium mound” guaranteed the nation’s status as a clandestine superpower for centuries, but recent times increasingly saw Wakanda a target of incursion, subversion and invasion as the world grew ever smaller. Here however, in a tale notionally removed from mainstream continuity T’Challa and his sister Princess Shuri discover the nation’s borders are not, nor ever have been totally secure…

Scripted by Bejamin Percy, this trans-galactic saga of families at war sees sibling rivalry lead to civil conflict in one of the dominant clans of the Yautja. One prince, physically far weaker than his brother and even missing a limb, survives only because his superior brother heaps further shame upon him, constantly proving to their sire how unworthy the weakling truly is.

A life of woe and degradation seems likely to end in inconceivable agony and shame, but the pariah pursues an ancient prize trophy: a sample of a wonder element dubbed “godmetal” that has utterly reshaped his prospects. The treasured token of a long-ago hunt, it comes from favoured preserve Earth where some of the indigenous prey have fabulously prospered and gained advantage from it. There, they call it Vibranium and he will have it…

Although they’re indisputably barbaric and revel in getting their clawed hands dirty, Yautja are an ancient galaxy-spanning species and the outcast instantly finds new ways to use the miracle metal. Escaping to Earth with his surviving faithful retainers he goes about securing the only known source of his salvation…

On Earth, Black Panther T’Challa bickers with smugly-superior Shuri during a live fire training exercise pitting his bodyguard Dora Milaje against male warrior elite the Hatut Zeraze and everybody against the King. Although good natured, the competition is fierce but everything changes when the renegade arrives and infiltrates. Deftly penetrating the country’s electronic and advanced energy defence shields screening Wakanda from the rest of humanity, the Yautja takes command of human mechanical systems and begins collecting trophies: not just skulls and spines of the greatest warriors in the region, but most crucially all the Vibranium and ordnance the prey have developed from it…

With Wakanda locked down and T’Challa hard-pressed just to survive. it’s a good thing Shuri never lost trust in the ancient mystical ways (or contact with extremely gifted spirit medium Maji Kina), and is, moreover, open to a surprise offer of assistance from visiting American superhero Sam Wilson, the high-flying high-tech Falcon

As the alien renegade musters its newfound resources and Wakandans bloodily strive on, stubborn T’Challa consults his dead ancestors to learn how his grandfather Azzuri the Wise dealt with the last visitation before all the scattered human resistors convene to end the threat… if only for now…

Savage and bloody but with room for character moments and even gallows humour, the tale is visually detailed by Chris Allen, Sean Damien Hill, Lee Ferguson, Craig Yeung, Jonas Trindade and coloured by Erick Arciniega with letters by VC’s Travis Lanham. Ultimately, plot-wise there’s not much to this – and a good thing too as it would get in the way of the action…

Like the films, what’s on offer is a thinly disguised excuse for mindless, cathartic violence and rollercoaster thrills and chills, and it’s all accomplished with compelling style and dedication. Wild, grim, edgy and utterly entertaining, the original  4-part miniseries came with a variety of cover choices and capping the furious fun is an extended gallery with gory stories enshrined in single visual vistas of line, colour, paint & pixels, courtesy of Ken Lashley & Juan Fernandez – AKA Ledkilla, Edwin Galmon & Federico Blee, Chris Allen, Leinil Francis Yu & Romulo Fajardo Jr., Pete Woods, Philip Tan, Mark Morales & Frank Martin, Skottie Young, Doaly, Rahzzah, Rose Besch, Andrei Bressan & Ceci De La Cruz, Junggeun Yoon and Mateus Manhanini.

Hunt this down for simple fun and pure escapist shocks and shudders.
© 2025 20th Century Studios. Marvel, its characters and its logos are ™ Marvel Characters, Inc.

On this day in 1987 master raconteur screenwriter and occasional comics author Alfred Bester died. His visual feasts included lots of DC comics stars such as the first Green Lantern, and newspaper strips The Phantom and Mandrake the Magician. You should consider yourself an incomplete human if you haven’t read The Demolished Man, The Stars My Destination (aka Tiger, Tiger) and Who He?

Predator vs Wolverine


By Benjamin Percy, Andrea Di Vito, Greg Land & Jay Leisten, Ken Lashley, Hayden Sherman, Kei Zama, Gavin Guidry, Frank D’Armata, Juan Fernandez, Alex Guimarães, Matthew Wilson & various  (20th Century Studios/MARVEL)
ISBN: 978-1-302955045 (TPB/Digital edition)

Win’s Christmas Gift Recommendation: Irresistibly Purely Primal Pandering Nonsense… 8/10

Although I’ve striven long and hard(ish) to validate and popularise comics as a true art form here and elsewhere, it’s quite hard to escape one’s roots, and every so often the urge to revel in well-made, all-out mindless violence and crass commercialism masquerading as what the reader wants just takes me over. If there’s a similar little kid inside you, this unchallenging, arty no-brainer team-up property might just clear the palate for the next worthy treat I’ll be boosting…

Predator was first seen in the eponymous 1987 movie and started appearing in comic book extensions and continuations published by Dark Horse with the 4-issue miniseries Predator: Concrete Jungle spanning June 1989 to March 1990. It was followed by 39 further self-contained outings and (by my count thus far) 14 crossover clashes ranging from Batman and Superman to Judge Dredd, Archie Andrews and Tarzan, keeping the franchise alive and kicking whilst movie iterations waxed and waned. Two of the most recent involve stalwart movie sensations the Black Panther and Wolverine.

That latter has been remarkable restrained in intercompany outreach projects thus far.

Wolverine is all things to most people and in his long life has worn many hats: Comrade, Ally, Avenger, Father Figure, Teacher, Protector, Punisher. He first saw print in a tantalising teaser-glimpse at the end of Incredible Hulk #180 (cover-dated October 1974 – So Happy 50th, Eyy?). That peek devolved into a full-on if inconclusive scrap with the Green Goliath and accursed cannibal critter Wendigo in the next issue. Canada’s super-agent was just one more throwaway foe for Marvel’s mightiest monster-star and subsequently vanished until All-New, All Different X-Men launched the following year.

The semi/occasionally feral mutant with fearsome claws and killer attitude rode – or perhaps fuelled – the meteoric rise of those rebooted outcast heroes. He inevitably won a miniseries try-out and his own series: two in fact, in fortnightly anthology Marvel Comics Presents and an eponymous monthly book (of which more later and elsewhere). In guest shots across the MU plus myriad cartoons (beginning with Spider-Man and His Amazing Friends in 1982) and movies (from X-Men in 2000) – he has carved out a unique slice of superstar status and never looked back.

Over those years many untold tales of the aged agent explored his erased exploits in ever-increasing intensity and detail. Gradually, many secret origins and revelatory disclosures regarding his extended, self-obscured life slowly seeped out. Afflicted with periodic bouts of amnesia, mind-wiped ad nauseum by sinister foes or well-meaning associates, the lethal lost boy clocked up a lot of adventurous living – but didn’t remember much of it. This permanently unploughed field conveniently resulted in a crop of dramatically mysterious, undisclosed back-histories. Over the course of his X-Men outings, many clues to his early years manifested, such as an inexplicable familiarity with Japanese culture and history, but these turned out to be only steps back, not the true story…

In this co-production those lost days neatly plug into a saga of vengeance and vendetta spanning more than a century, but which, I strongly suspect, will not play a large part in mainstream Marvel continuity for all the guest stars involved…

The teeth-tightly-clenched tale by Bejamin Percy sees the embattled mutant fleeing across contemporary frozen Canada pursued by an invisible killer with death rays and sharp projectiles and definitely on the losing end of this tussle. As he flees, lashes out and howls at bay his much-abused mind flicks back to previous encounters with this particular hunter, who has seemingly stalked its prey for over a century…

Brutal and uncompromising, the savage close calls are revisited in flashbacks by a tag team of artists – Ken Lashley handling the present day; Greg Land & Jay Leisten depicting young James Howlett circa 1900 in Alaska, and Andrea Di Vito limning a covert South American mission beside Sabretooth, Maverick, Jackson and Kruel when Codename Wolverine was a memory-edited spy with Team X. Every incident ended with an alien attack and the mutant barely escaping…

Other key moments are included, as when the relentless monster invaded the Weapon X facility in Alberta, just as the burned-out secret agent is being forcibly infused with Adamantium (illustrated by Hayden Sherman), Kei Zama’s lyrical rendition of Logan and swordsmaster Muramasa battling Hand ninjas and the remorseless invisible hunter, and Gavin Guidry depicting the early Westchester Mansion era where even a full X-Men team are helpless against the single-minded space invader. In case you were wondering, each section is collaboratively coloured by Juan Fernandez, Frank D’Armata, Alex Guimarães & Matthew Wilson and lettered by VC’s Cory Petit. Ultimately by returning to today the chase comes to a cataclysmic close…

Like the films, what’s on offer is a thinly disguised excuse for mindless, cathartic violence and rollercoaster thrills and chills, and it’s all accomplished with compelling style and dedication.

Wildly implausible, edgily daft and thoroughly entertaining, the original 2023 4-part miniseries came with a variety of cover choices. Capping the furious fun is an extended gallery included here courtesy of Peach Momoko, Mike McKone & Rachelle Rosenberg, Alex Maleev, Skottie Young, Inhyuk Lee, Stephen Segovia & Romulo Fajardo Jr., Steven McNiven & D’Amarta, Gary Frank & Brad Anderson, Javi Fernández & Wilson, Sam De La Rosa & Chris Sotomayor, Cory Smith & Federico Blee, Whilce Portacio & Alex Sinclair, Adam Kubert & Wilson, Dan Jurgen, Breet Breeding & Sinclair, Bill Sienkiewicz, and Joshua Cassara & Dean White.

Track this down for simple fun and pure escapist shocks and shudders.
© 20th Century Studios. Marvel, its characters and its logos are ™ Marvel Characters, Inc.

Prometheus: Fire & Stone


By Paul Tobin, Juan Ferreyra & various (Dark Horse)
ISBN: 978-1-61655-650-1

Spinning out of the movie Prometheus and its comicbook iteration, Fire and Stone was a bold and ambitious publishing event begun in 2014 designed to link four separate franchises into a coherent – if rather time-distanced – universe.

A quartet of 4-part miniseries featuring core concepts from Prometheus, Alien, Predator and AVP: Aliens Vs Predator was conceived by scripters Paul Tobin and Kelly Sue DeConnick, with the calamitous clash of cultures and creatures culminating in one-shot Fire and Stone: Omega.

The first of those pocket series is now available as a sleek paperback collection scripted by Tobin and moodily designed and illustrated by Juan Ferreyra, opening the time and space shredding saga in 2219 AD above the third moon of the Calpamos planetoid in the Zeta 2 Reticuli system.

Four Earth craft have rendezvoused there, seeking answers to the question of what happened to a long-lost research ship.

Historian and filmmaker Clara Atkinson aboard command ship Helios ponders the ongoing mission as the crews of engine core vehicle Geryon, military patrol ship Perses and salvage vessel Kadmos slowly shake off the effects of deep space hibernation and get reacquainted.

Captain Angela Foster is cranky but seems exhilarated at the prospect of hugely valuable salvage and effusive medical officer James Weddel is his usual grabby self, but apparently affable astrobiologist Francis Lane is hiding something. He’s coincidentally in charge of maintaining and servicing the service humanoids such as meek-seeming synthetic assistant Elden – the only being aware of the secretive boffin’s failing health…

What nobody except Foster knows is the true purpose of the mission. She is hunting legendary exploratory ship Prometheus and chimeric, inspirational leader Sir Peter Weyland. Moreover, when Weyland was lost on LV-223 in 2090 he was seeking to prove a crazy theory that a race of giants he called “The Engineers” had seeded the universe with life. He wanted to find the creators of humanity, and now so does she…

Leaving Geryon in orbit, the smaller ships confidently head for solid ground. Foster takes the Helios down and soon discovers that the supposedly barren moon is rich with weird, superabundant, aggressive and extremely ugly lifeforms. Strangely, most of it seems to be concentrated in a single implausible and very forbidding micro-rainforest…

Discoveries come thick, fast and increasingly disquieting. A strange, viscous black goo which seems to be the very essence of raw life. Bizarre corpses and skeletons crushed, torn apart or burned by acid. An ecosystem of fauna filling every biological niche and all looking as if they were patterned on the same creature…

Lane is particularly taken with the omnipresent black ooze and he and Elden are missing when the main party discover a lost human-colony ship somehow shifted to the wrong planet and submerged by a wall of overgrown undergrowth.

They are utterly unprepared for the marauding xenomorphs hungrily waiting inside for fresh prey…

It all goes pretty much as you’d expect (and, I suspect, hope) after that, but whilst the Aliens begin their hideous and inexorable dance of death, other things that will impact the succeeding story-arcs come into play too.

Whilst Foster’s party is searching, a wave of the big-headed bugs swarm the Helios, leaving it locked down and besieged…

Lane begins experimenting with the black goo in a cave, seeking a cure for his cancer. When he injects poor, passive Elden with a sample, the astrobiologist is appalled to see rapid and terrifying forced evolution in action, transforming a harmless and completely docile programmed servant into a monster with a ruthless will and deadly agenda of its own…

Others explorers find a crashed craft of incontrovertibly alien origin and dependable, staunch and fun-loving ebullient military man Galgo grabs up extraterrestrial weaponry. Later, seeing the way the winds are blowing, he promptly abandons the science teams and the Helios to fate…

None of the wide-ranging humans are prepared for the consequences when a long-dormant Engineer begins checking his planetoid-sized laboratory again and, seeing assorted specimens and unidentified creatures running riot, starts dispassionately clearing up the mess and shutting down the chaos…

Soon only three humans are left cowering in the dark but refusing to give in…

To Be Continued…

Fast-paced, intensely gripping and closely following the tried-and-tested formula of the film franchises, this is a superb horror/sci fi romp to delight fans of the cinematic classics and breathtaking thrill rides in general, which also offers a cover gallery and chapter-break art by David Palumbo plus a potent and beguiling selection of designs and notes from illustrator’s Juan Ferreyra’s ‘Sketchbook’.

™ & © 2014, 2015 20th Century Fox Film Corporation. All rights reserved.

Superman vs. Predator


By Mark Schultz & Ariel Olivetti (DC Comics/Dark Horse)
ISBN: 978-1-84023-319-3

I’m never particularly comfortable with crossovers combining licensed characters. It seems to me that some basic law of narrative integrity is being flouted purely for venal profit when two (or more) disparate headlining money-spinners are shoehorned into a story with scant regard for intrinsic values and often necessitating ludicrous plot-maguffins simply to make the mismatch work.

On first look just such commercial instincts seem to ride roughshod over all other considerations in this Battle of The Brands from DC and Dark Horse, which originally appeared as a three-issue miniseries in 2000 before making the jump to stiff covers and nominal legitimacy as a graphic novel…

However, appearances can be deceiving and once the necessary leveling gimmick has de-powered the nigh-omnipotent Man of Tomorrow what’s left is a beautifully illustrated and tensely effective thriller that both movie mavens and funnybook fans can read and enjoy.

Written by David Michelinie and illustrated by Alex Maleev the action opens with a S.T.A.R. Labs expedition to La Jungla de Las Sombras, one of the hottest and isolated areas of the South American rain forest. A small group of scientists looking for specimens discover a half-buried alien spacecraft and immediately fall out. Whilst ambitious young Dr. Marla Rollins is bedazzled by the potential benefits and glory that would accrue from such a find, grizzled xenobiologist Casey Trabor wants to blow it up. He knows trouble when he sees it. Of course the mound of human skulls he’s standing on might be colouring his judgement…

In Metropolis, Lois Lane gets wind of the find and promptly heads South, but Superman arrives first, only to be exposed to a fast-acting extraterrestrial virus when he enters the fallen vessel with the squabbling scientists. The first inkling that something is wrong comes when the “dead” ship awakens and emits an alarm signal. Before anybody can react a surprise attack by paramilitary mercenaries drives off both the explorers and a painfully weakened Man of Steel.

Fleeing into the jungles the Americans learn the legend of the Predators (heavily referencing the first movie) from a native and when Lois finally turns up Superman is captured trying to rescue her from the mysterious soldiers.

All is revealed when the entire party is dragged before mad scientist Solomon Ward, who has turned a lost city into his private lab. Ward intends to inject a chemical into the Earth’s atmosphere that will wipe out all hereditary disease and disability. Unfortunately it works by killing all the “genetically impure” carriers at once, leaving only healthy, “pure” people alive to breed…

With Superman crippled and an unstoppable madman about to eugenically euthanise possibly everyone on Earth, dark secrets are revealed about more than one of the S.T.A.R. scientists, whilst elsewhere chaos and horror erupt as an invisible monster begins slaughtering the mercenaries…

The good guys escape and try to warn civilisation, whilst the dying Superman heads back to the downed ship looking for a last-ditch cure. What he finds is a bloody charnel house and an alien hunter summoned by the reactivated vessel.

Dying but indomitable, the Man of Steel must defeat an inhuman killing machine in time to stop mass genocide by far more wicked human monsters. The inscrutable Predator, however, has an agenda of its own, and of course there’s a thermonuclear self-destruct clock counting down too…

We are all, on some level, still just kids in our own heads, inhabiting a vast metafictional gestalt where Dracula, Adam Adamant, Thursday Next, Danger Mouse, Fu Manchu, James Bond and Carnacki, the Ghost Breaker stalk the same London streets (hey! That I would buy…) and occasionally it’s okay to giver in to the wide-eyed wonder addict – but only if the product is a well written and beautifully executed as this rare treat…

© 2001 DC Comics, Twentieth Century Fox Film Corporation and Dark Horse Inc. All Rights Reserved.