Red Sonja/Tarzan #3 - A Review

The time-traveling hunter known as Eson Duul has set his sights on the Greystone family. Now, Red Sonja and Tarzan are in a literal race against time. Fortunately, The Greystroke family is far from defenseless, as the son of John Clayton is known to the great apes as Korak - their word for killer! And he does not stand alone in the battle against Duul and his forces, even without his father and the She-Devil With A Sword!


Red Sonja/Tarzan #3 is surprisingly free of either of its title characters. It is not lacking in action, however, with most of the issue focused on the exploits of Korak, Son of Tarzan, and Windia - an African woman warrior who could give any member of the Dora Milaje a run for their money.

Those who have enjoyed this series so far will find the third issue contains more of the same spirited writing and action-packed artwork.The only real flaw, and I admit this is a nitpicky one, is that I expect to see more of Red Sonja and Tarzan in a book called Red Sonja/Tarzan. Thankfully, the final pages promise that in plenty next month.

The Final Analysis: 7 out of 10. Old-fashioned pulp action, marred only by our title characters being largely absent from this issue.

Red Sonja/Tarzan #2 - A Belated Review

United across time and space by an enemy who seems to have the power to breach those same boundaries, The Lord of The Jungle and The She-Devil With A Sword form an uneasy alliance... though this is not the first time the two have crossed paths, though neither remembers the first time they met and came to blows...


Again, real life had gotten in the way of my reviewing this wonderful little mini-series, sure to appeal to fans of both Red Sonja and Tarzan. Gail Simone's script captures the essence of both characters perfectly. This is unsurprising, given Simone's long association with Sonja after 18 issues of the monthly comic and the Swords of Sorrow event, which gave her ample opportunity to indulge her obvious love of pulp fiction. Hopefully we'll get to see Jane in action by this series' end as well.

Walter Geovani proves the perfect partner in this. Again, this is unsurprising, given Geovani's long history of drawing Red Sonja and other pulp works for Dynamite Entertainment. Attention must also be paid to the colors of Adriano Augusto and the letters of Simon Bowland, which are equally amazing. Again, I say it - this is a wonderful series, sure to appeal to fans of both Red Sonja and Tarzan as well as anyone who enjoys a ripping yarn.

The Final Analysis: 8 out of 10. It may not be everyone's cup of tea, but that is their loss.

Pathfinder: Worldscape #6 - A Review

The city of Shareen is razed and the Empress Camilla lies dead. Alas, the sorcerer Kulan Gath has acquired her scepter and what remains of Camilla's circle of advisors have joined him to acquire the magic crown that, coupled with the scepter, will give them power over The Worldscape and the three worlds that feed it! It is now a race against time as John Carter, Red Sonja and their new friends among The Pathfinders must meet with The Council of Jungle Kings and rouse the bearer of the crown - the one called Tarzan - from his contemplation to join the battle!


Alas, this engaging bit of pulp fiction has fallen flat in its final chapter. The strength of Erik Mona's story has lain in the interactions between the heroes of different worlds, such as John Carter discussing religion with a priestess whose magics he cannot explain. Those interactions are tossed aside here, as we are introduced to a horde of public-domain jungle kings whose only purpose is to serve as canon fodder until Tarzan can be bothered to put in an appearance. The artwork by Jonathan Lau remains astonishing but this ending feels rushed and might have benefited from a few more issues to develop the larger cast.

Pathfinder: Worldscape #5 - A Review

The warrior Valeros and priestess Kyra have been reunited in the cells of the Empress Camilla's arena, Their newfound allies - Red Sonja and John Carter - stand ready to lead a rebellion against the Empress and the dark forces allied with her. Yet Kyra is troubled by the revelation that Merisiel - their party's rogue and her lover - stands among Camilla's inner circle...

It would have been a simple matter to throw together a fantastic epic utilizing the world of the Pathfinder roleplaying game and Dynamite Comics' rich stable of pulp heroes. Thankfully, Erik Mona chose a more challenging path in writing this story. It's thrilling enough as a fantasy tale yet the heart of the story lies in the interactions between the various characters. It's as amusing watching the hard-drinking and harder-loving Valeros and Sonja play off of each other as it is touching to see John Carter in a rare reflective mood as he speaks of romance with Kyra.


Jonathan Lau's art proves a perfect pairing with Mona's story. He draws a damn fine action sequence yet instills even the most basic scenes of two people having a conversation with a sense of motion. Omi Remlante's colors are well chosen throughout, with interesting gradient effects used to simulate torchlight also aiding the appearance of the completed artwork.

Pathfinder: Worldscape #4 - A Review

Merisiel had a shady past but reformed (somewhat) and used her skills as a thief to aid her allies in exploring the wonders of Golarion. It was a surprise then when her allies learned that Merisiel was part of the villainous council that ruled the city of Shareen, which lay at the heart of the prison dimension known as The Worldscape. Here now is the untold tale of how Merisiel found herself fighting alongside the dark wizard Kulan Gath, the sky-pirate Phondari and the Empress Camilla!


The plot thickens in this time-twisted issue of Pathfinder: Worldscape, though the actual story doesn't advance much. Despite this, the story at hand is a wonderful character study of Merisiel. And the artwork by Jonathan Lau and Omi Remalante continues to impress.

Pathfinder: Worldscape #3 - A Review

Kyra is a priestess of Sarenrae - goddess of light and healing. Separated from her companions and trapped in the prison plane known as The Worldscape, she has taken refugee in the city of Shareen - a dark and wicked place in need of Sarenrae's light. Yet when an act of compassion brings Kyra to the attentions of The Tharns - death priests aligned with the evil ruler of Shareen - the priestess will win the aid of another hero - John Carter, Warlord of Mars!


The artwork for this issue suits the grim and gritty setting well. Artist Jonathan Lau does a fantastic job layering each panel, with thin inks barely outlining the characters and thicker inks crafting defining shadows. This enables colorist Omi Remlante to finish the art with similarly varied palettes.
What truly sells this issue, however, is writer Erik Mona's command of the characters and his brilliant ideas for playing the heroes of different settings off of one another. The issue's best sequence sees the inquisitive Kyra asking John Carter about the gods of his world.  It's an interesting point, not often examined in this kind of crossover, that the gods of worlds like Golarion offer continual evidence of their existence compared to the indifferent gods of Hyboria. I also love how this fact is more disturbing to the faithful than the faithless. John Carter doesn't put much store in gods or priests of any kind, but the practical warrior knows good souls and good things when he sees them. It is ironic then that Kyra winds up seeking an affirmation of her faith in the face of True Darkness from the humanist.

Pathfinder: Worldscape #1 - A Review

The world of Golarion is home to many wonders and the fighter Valeros has seen many of them. Yet even he finds it hard to believe when - in the midst of a battle against his greatest foe alongside his closest friends - he suddenly found himself in another world. Captured and forced into service as a gladiator slave, Valeros has become the latest victim of The Worldscape - a world between worlds that traps people from other realms. Killing for the amusement of others does not sit well with the honorable Valeros, but he may have no choice when he his pitted against the arena's current champion... a woman known as Red Sonja!



The concept of people suddenly being drawn into other worlds in a staple of both pulp fiction and role-playing games. John Carter, of course, became a Warlord of Mars after accidentally astral projecting to Barsoom. And the classic Ravenloft setting of Dungeons and Dragons was based around a dark realm that crafted ironic punishments for various evil beings, even as it lured in unfortunates for those beings to torment.

Taken in that context, Pathfinder: Worldscape is a worthy continuation of both legacies. The story is easily accessible to those unfamiliar with the heroes of the Pathfinder comics or Red Sonja. And the kinetic style of Jonathan Lau's artwork paired with the colors of Omi Remlante matche that story perfectly.



At $4.99 this comic is a bit more expensive than most. As a gaming supplement, however, it's a bargain!  The comic comes bundled with a poster/map, an adventure written for the Pathfinder role-playing game system, a write-up of Red Sonja's statistics for those who wish to feature the Curse of Hyrkania in their campaigns and the information for a Sonja-inspired character class, The Sword Devil. (You can read about writer Erik Mona's process for crafting it all here.)

As someone familiar with Sonja as a character and Pathfinder as a system, I consider this all to be good quality material. My only quibble with the Sonja write-up lies with her being given a Neutral Good alignment. If ever anyone was a poster-girl for Chaotic Good, it's Sonja. Apart from that, this is a damn fine comic for gamers and fantasy fans alike and a wonderful gaming supplement.

Red Sonja #6 - A Review

The battle for Hyrkania's soul rages on, with the rebellion attacking King Savas on his wedding day. And Red Sonja rides with the rebels astride a great phoenix! But when the war seems to claim one Sonja risked much to protect, will rage lead her to strike down another friend she falsely perceives as an enemy?


As much as I've enjoyed Marguerite Bennett's run on Red Sonja thus far, this final chapter of the opening arc seems a little weak. The battle in this issue feels incredibly rushed. And for all the ingenuity Bennett showed in the early chapters, she falls back all too readily into the standard fantasy tropes in the finale, with a wounded child spurring the hero into rash action and an ending that will surprise no one. The book is enjoyable despite this but it's still something of a disappointment given how unique this run had been.

That being said, Aneke's artwork continues to inspire admiration. Her work on this series has made Red Sonja into one of the most amazing-looking comics on the stands. The action sequences are all well-paced and the color art by Jorge Sutil is as vivid and visceral as the world of Hyboria itself.

Red Sonja #5 - A Review

King Savas had expected resistance when he captured Red Sonja's most recent companion - the playwright Midy. He did not expect for her, now feeling scorned by Sonja's apparent abandonment of her, to offer to write a play that would subvert the legend of Sonja while elevating Savas and the last of his Black Talons (the women impersonating Sonja in his name) to the level of living legends. Meanwhile, Sonja seeks another legend - a giant carnivorous bird - as she too ponders the nature of legends and how she might yet save a people who don't wish to be rescued.


If Gail Simone redefined Red Sonja for a new generation of readers, than Marguerite Bennett has refined it. No longer a simple sword-and-sorcery comic, Bennett's thoughtful writing has explored both current events such as the role of the media and popular culture in shaping politics and deeper philosophical truths about the nature of heroism and humanity. In this Bennett resembles Robert E. Howard more than any other writer to ever play in his world.


The artwork operates on a similarly deep level. There is great interplay, for instance, between Bennett's monologues for Sonja and the action in the panel as each line is spoken. The battle sequence between Sonja and the roc is epically illustrated and the colors of Jorge Sutil are vibrant and powerful.

Red Sonja #4 - A Review

Spurned by Red Sonja, the mad king Savas has become determined to possess Sonja's legend if he cannot have the woman herself. Three women has he chosen to be his Black Talons, reborn in Sonja's image to promote his reign to the common folk of Hyrkania and subvert everything she stands for!

Sonja has fought whole armies before, but this is a battle that cannot be fought with blades or bows. Thankfully, Sonja knows an orator who is to words what she is to battle. Unfortunately, The Black Talons are already on her trail...


Marguerite Bennett continues to impress on Red Sonja. This is a spirited action tale in the same spirit as Gail Simone's run, which redefined the She Devil With A Sword for a new generation. It is also a wonderful commentary on jingoism and racism, which delivers its message without being preachy.


Aneke is joined on the art duties this month by Diego Galindo. They bring Bennett's script to life wonderfully, with Jorge Sutil's colors completing the package perfectly. All in all, this is a worth continuation of the Red Sonja legacy and a must read for all sword and sorcery fans.

Red Sonja #3 - A Review

Sonja is ill-pleased to discover that the new war-mongering king of Hyrkania is a former ally - a merchant named Savas who once hired her as a guard. She is even less-pleased to learn that everything he has done was part of a misguided attempt to win her heart and that he would have her as his queen... one way or the other!

With Red Sonja #3, Marguerite Bennett does more than merely pay tribute to the first Red Sonja solo story, which saw a power-mad king try and claim Sonja after deciding she'd better serve him decorating his harem than leading his army. Bennett's story here is a rather neat metaphor for Sonja's treatment by long-time sword-and-sorcery fans who disliked Gail Simone's recent revamp, with King Savas playing the role of the angered fanboy whose image of Sonja as a pure and perfect goddess has been spoiled by the reality of who Sonja is.  Metatextual analysis aside, this issue is also a damn good action story and Bennett does a masterful job of developing the supporting players, with Raka - a hunter and another former lover of Sonja - being particularly noteworthy as a counterpoint to Savas' obsession.

Aneke's artwork for the issue equals Bennett's script. I regret that I cannot show you some of the beautiful two-page spreads this issue contains, due to the size of my scanner. Suffice it to say that Aneke is a great artist and the beauty of her work is matched only by her skills in telling a story visually and blocking a fight scene. The colorists for this issue - Jorge Sutil and Morgan Hickman - deserve praise for working together so seamlessly, you would never know that one artist did not do the color art for this issue. And Erica Schultz delivers some stunning-looking lettering.

Red Sonja #2 - A Review

Sonja refused the throne of Hyrkania fearing what kind of queen she would be, yet she now finds herself cursing the decision. The new king, while having ushered in a new era of prosperity, has also given rise to a horde of ills. Among them are maddened soldiers killing the families of those who refuse the "honor" of serving in the army and generals forcing plays to be rewritten to insult the previous king and honor Hyrkania superiority to the point of paying insult to other nations - even those friendly to Hyrkania!

Alas, there are some evils even Red Sonja cannot fight. And this darkness plaguing the soul of Hyrkania may not be born of spells and sorcery but lie within the heart of humanity itself...


Red Sonja is not overly famous for social commentary, save in the most vaguely philosophical terms regarding women being as capable as men. Before now I wouldn't have thought it possible to tell a story about the dangers of jingoism and racism in a sword-and-sorcery setting. Margureite Bennett not only makes this timely statement but does so without getting preachy or making any on-the-nose comments about building walls to keep the Turanians out and making them pay for it.

There's also an interesting dynamic in how Sonja - the ultimate outsider - is the one who takes action to save a system she has no wish to be a part of.  Sonja lives the life she does so that no one else suffers as she did, yet she's a stark individualist. It's an interesting dichotomy and Bennett explores that wonderfully.


The artwork of Aneke skilfully captures the essence of Bennett's script. Aneke has a wonderful sense of staging and there is a sense of motion in every panel, even in the more static scenes of two characters just talking. Jorge Sutil's colors are well chosen, with the palettes offering a variety of subtle gradients to indicate light and shadow, even in the skin tones.

Red Sonja/Conan #4 - A Review

Before I review Red Sonja/Conan #4, I do need to take a moment to discuss an artist who I haven't mentioned in my previous reviews of this mini-series - Ed Benes.

For those who aren't familiar with Ed Benes and his oeuvre, Mr. Benes is an artist who specializes is a style that has earned him a certain amount of derision. It is not that Mr. Benes is incapable of drawing male characters or action scenes. It's just that he's rather more famous (and infamous) for his covers and posters featuring female characters in a pin-up style.

To give you some idea, here are two of Mr. Benes' previous works involving Red Sonja.


She looks... cheeky.

Ed Benes did the main covers for every issue of Red Sonja/Conan and, if I may be charitable, they have not been his best work. Even ignoring the cheesecake angles in the above artwork and the unlikeliness of Sonja posing thus while in the middle of combat, at least it looks like she is holding her weapons properly with her feet firmly planted, Not so in this cover, where it appears that Sonja is lying on her left side while still being upright, her sword arm twisted at a weird angle. Conan's stance with his dagger twisted around the wrong way in his right hand is little better, looking equally off-balance and forced.


Seriously. Put Sonja on her side and picture her saying "Draw me like one of your Aquilonian girls".

I mention all of this to lend you perspective when I reveal a frightening fact.

This - all of this which you've seen before this sentence?

It is better than any artwork in this book's interior.


Has anyone reported this to Eschergirls yet?

Yet even this is not the worst aspect of this comic!  The grim irony of Red Sonja/Conan #4 is that Sonja is nothing but a supporting player in this book, despite getting top billing this time around. The action of the script by Victor Gischler remains firmly focused on Conan. And with the exception of the final blow against Toth Amon (a sneak attack while Conan attacks from the front), Sonja is mere eye-candy who serves no purpose for most of the issue other than to praise Conan.


At least, Sonja would be eye-candy if the artwork made her look at all attractive.

Artist Roberto Castro has no business working in professional comics. I have seen a better grasp of anatomy in the margin doodles of junior high-school students. And that is not hyperbole - remember this critic works with junior high-school students in his day job!

Castro's figures manage to look sketchy while still seeming over-inked. His take on Sonja is as cartoonishly elongated and emaciated as Aeon Flux. And I find it hard to believe that any professional editor would accept artwork where Red Sonja's left arm is growing out of her left breast! Yet here we are...


Chuck Norris has a third fist under his beard. Red Sonja has a third sword-arm under her bra.

At this point, I can safely say that Red Sonja/Conan #4 is the worst thing to feature the character of Red Sonja in 2015. And to give you some idea of how damning a statement that is, consider that the final chapter of the utterly horrible Red Sonja: The Black Tower just barely came out in 2015. For all the troubles that mini-series had (and there were many!), at least the artwork was good.

Here, the artwork and story are terrible. This mini-series is a disgrace to both Conan and Red Sonja. If you want a good Conan and Red Sonja team-up book, track down the excellent Conan/Red Sonja series by Gail Simone and Jim Zub. Accept no substitutes!

Swords of Sorrow #6 - A Review

The final battle is begun! And as the Traveller and her chosen defend themselves against an army of the dreadful Shard-Men, the trio of Red Sonja, Dejah Thoris and Vampirella move to strike down Prince Charming himself. But how will the prophecy be fulfilled when a cowardly attack by Purgatori sees Vampirella staked and near death?!


Sergio Davila's artwork on this series has been nothing short of phenomenal. Given that many of the heroines involved in this series were born of the 1990's bad-girl movement and served little purpose other than providing wanking material for boys too young to buy Penthouse, it is gratifying to see them rendered with realistic proportions. The action flows smoothly and their are no impossible poses or Escher-Spines to be had!


I must say with all honesty that this final chapter of Swords of Sorrow is not Gail Simone's greatest work. Simone is wildly successful in keeping the plot moving and tries to give all of the large cast of characters at least a panel or two to showcase their skills. But I fear that it is all too much, too quickly.

Had this been a 12-issue mini-series rather than a 6-issue one, maybe it could have handled the sheer scope of what Simone has tried to convey. In the end, I think this series - much like the original Secret Wars - will be remembered for what it set-up rather than for the story that it told. But that is not a bad thing when what it sets-up is a shared universe that will allow other writers to freely team these heroines in the future.

Red Sonja/Conan #3 - A Review

Red Sonja/Conan #3 is a truly awful comic book.  And yet, it is the strongest chapter of this mini-series to date. It would be unfair to say that this follow-up to the excellent Conan/Red Sonja series by Jim Zub and Gail Simone has gone off the rails. This book was never put on the rails in the first place!

The artwork by Roberto Castro somehow manages to look sketchy and unfinished while somehow being over-inked. His characters are misshapen hunks of random muscles, save for Red Sonja herself, who looks more like a bikini model than a warrior woman. The one nice thing I can say is that, unlike the previous issues, Castro remembered to draw bra the straps of Sonja's costume this month.

The script by Victor Gischler reads like the sort of story Roy Thomas might have written back in the 1970s when he was racing to meet a deadline... and hungover. The humor and romance of the earlier mini-series is completely absent. It's the worst kind of generic sword-and-sorcery with the focus firmly on Conan and Sonja reduced to the role of a sidekick.

Ignoring this, Sonja seems horribly out of character. She is seemingly surprised at Conan's sense of honor when he refuses to kill a man who surrendered. Later, she suggests that she and Conan could just not get involved as they prepare to storm the evil wizard's lair but then says she expected nothing less when Conan refuses to abandon their quest. Sonja is not one to waste words thus when there is evil that needs smiting. Indeed, she has a better track record of being more hero than mercenary than Conan.

Swords Of Sorrow: Red Sonja & Jungle Girl #3 - A Review

Ice continues to plague the mysterious island that Jungle Girl calls home. Only the mystic Heart of the Mountain can repair the damage done by Mistress Hel and her ice wyrm. And only Jana and Red Sonja can guide the witchworker Bel'lok to its resting place.

Alas, what started out as a promising mini-series falls apart in this final chapter. Curiously, Sonja and Jana have no real function in this chapter other than to protect the male protagonist who knows what is going on and must be the one to use his magic to fix everything. This is a decidedly curious message for a series that was meant to be centered on pulp heroines!

Marguerite Bennett's script also goes a bit too far in hanging the lampshade on the silliness of the whole affair, with Sonja praying to "the gods of this absurd island of incongruous mystery" at one point. What is worse, the Sonja and Jana we see in this issue seem to act differently from the characters we saw in the first issue, with Sonja playing matchmaker to her companions and Jana acting, at times, like a teenage bimbo.


The artwork doesn't aid in this impression, with Mirka Andolfo's style leaving everyone looking like teenagers. Still, the artwork is competently rendered and the action sequences are good. Yet I can't help but wonder how this series might have looked with a more traditional pulp artist handling it. Such speculation is pointless, however, and the artwork is good for what it is, though I may question how well it matches the setting.

Swords of Sorrow #5 - A Review

The Traveller has assembled her army, just as The Prince once called Charming has redrawn reality to merge various worlds into one great battlefield. Now - as Red Sonja, Dejah Thoris and Vampirella go to confront The Prince in his place of power - the rest of the assembled heroines must stay to fight an army of evil the likes of which has never been assembled! But are they all resolved to face the battle ahead of them? And are all of the so-called Women of Chaos committed to serving The Prince?


I find myself of two minds about this issue's script. Jungle Girl's sudden crisis of faith makes her a distinct point-of-view character in a book where most of the cast - due to the nature of crossover storylines - have had little chance for characterization beyond battle-hardened bad-ass or opportunist rogue. On the other hand, her sudden "But I'm just a girl"attitude seems contradictory to what we've seen of the character in this book so far and the Red Sonja/Jungle Girl tie-ins.

That said, I have faith that Gail Simone is building up something big for Jana in the final chapter and that the Jungle Girl will prove to be a true woman rather than the "jiggling jungle babe" Frank Cho established. Or maybe Dynamite Entertainment will be revealed to have licensed the rights to Sheena and we can get the true Queen of the Jungle for the final chapter?  A pulp fanboy can dream, right?



Whatever reservations I may have about the story going into the final chapter, I have no complaints about the artwork.  Sergio Davila's pencils and inks remain as fine as ever. The color art by Jorge Sutil further enhances the original art, crafting quite the set of pretty pictures.

Red Sonja/Conan #2 - A Review

Compared to the excellent Conan/Red Sonja series it was meant to follow-up, Red Sonja/Conan #1 was something of a disappointment. With its second issue, this mini-series has ceased to be a disappointment and developed into a full-fledged travesty. Not only does this comic not deserve to be mentioned in the same paragraph as Gail Simone and Jim Zub's earlier saga - it doesn't deserve to be on the same planet!


The artwork by Roberto Castro continues to be half-finished throughout. Yet the artwork seems even worse than last month's issue because of the misshapen and Cronenbergian appearance of most of the characters. The only character whom Castro appears to put any effort into depicting is Red Sonja and then only to ensure she has just enough circles covering her naughty bits to be considered decent.


The story by Victor Gischler proves equally lackluster. The humor of the previous issue has vanished completely. Worse yet, not only does this chapter break the classic storytelling rule of telling, not showing us the action - it has an enemy warrior describing events to Red Sonja that she already lived through and doesn't need to be told about!  The story gains nothing from this "As you well know..." perspective and readers will gain nothing from reading this book.

Swords Of Sorrow: Red Sonja & Jungle Girl #2 - A Review

Sonja and Jana's confrontation with Mistress Hel was cut short, thanks to the actions of a trickster sorcerer named Bel'lok. Wounded and weary, the three make their way back to Jana's village. Unfortunately, Jana's people are less than tolerate of outsiders at the best of times. And with Hel's dark magic corrupting the already xenophobic tribal leaders, this is definitely not the best of times!


I think it's safe to say that most readers are more familiar with the world of Red Sonja than Jungle Girl. As such, Marguerite Bennett wisely uses this issue to explain the rules of Jana's world to both her new outsider friends and, by proxy, the readers. It's an effective decision and the action of the issue seems less like route exposition as a result. Indeed, it's quite enjoyable!


The artwork operates with similarly subtle efficiency.  I am hard pressed to find words to describe the light, airy style of Mirka Andolfo but I do know what I like. And I like this style!  Everything is smooth and sketchy, with an inherit quickness that keeps the story moving briskly.

Swords of Sorrow #4 - A Review

Becoming a harem slave to a wicked prince or dying under a much harsher form of bondage isn't much of a choice. Still, this is the offer the demon known as Purgatori brings before an assemblage of time-displaced adventurers. And it is an offer that is swiftly declined.  Now this odd assemblage of killers, criminals and vigilantes must traverse the whole of time and space and seek out "the trinity" spoken of in the prophecy - the princess, the warrior and the vampire who will lead them to victory!


Swords of Sorrow #4 works on several levels. It works quite well as an adventure comic of the old school, with thrilling and chilling action sequences. It also works quite well as a comedic piece, with Gail Simone showcasing her gift for ribald humor that rises below vulgarity throughout. There is also some subtle satire of the genre and industry, with Purgatori - a 90's bad girl heroine who served little purpose beyond being the poster-girl for cheap fan-service - offering safety to the women who break the mold and refuse to be exploited.


Sergio Davila's artwork equals Simone's scripts in quality.  Davila manages the neat trick of drawing women who are beautiful and scantily clad without the whole affair seeming exploitative or unnaturally posed. This is one of the best looking books in recent memory.