Blowtorch: Bad Roads #2 - Page1 Comics

BLOWTORCH: BAD ROADS No. 2, February 2024

It’s hard to imagine many readers perusing their local comic book store’s spinner racks and encountering a more downright brutal plot as the one Alfred Paige and Alex De-Gruchy collaboratively pen for Issue Two of “Blowtorch: Bad Roads”. Indeed, this twenty-two-page periodical arguably just picks its audience up by the scruff of the neck with it’s opening scene of a chairbound Richard Kinkaid being battered about the head, and simply never lets go until its blood-soaked bibliophiles are eventually brought back to the relative peacefulness of C.H.E.S.S. Headquarters in Colorado at its very end; “How was Bluegrass Country.? That good, huh…?”

Happily however, this excessive violence isn’t just gratuitous padding to help populate the publication. But actually shows how mercilessly murderous the Crime Cartel are who have abducted Blowtorch, and the sheer deadliness of the ex-Army Ranger they’ve foolishly decided to keep alive for questioning. Furthermore, the sense-shattering shenanigans employed by both sides of this contest to try and eliminate one another makes for some utterly compelling, high-octane action that results in this magazine being impossible to put down until the desperate gun battle is finally finished.

Perhaps this comic’s most compelling feature though, is that its titular character isn’t quite portrayed as an unstoppable, one-man killing machine, and instead actually requires the help of an undercover Drugs Enforcement Agent (DEA) for assistance. Admittedly, Will initially appears to free Kinkaid from a local barn simply to improve his own chances of escape now the investigator is convinced he’s “gonna end up at the bottom of a goddamn quarry.” Yet this basic show of compassion quickly blossoms into the man becoming Richard’s unlikely gun-toting comrade-in-arms – something which helps add to the increasing concern as to whether both government operatives are going to successfully survive the blazing firefight around them.

Likewise, Igor Kurilin’s marvellous black and white layouts do a first-rate job in capturing all the claustrophobic horror of a savage night-time shoot-out in and around a house. In fact, once Blowtorch has finally donned his famous flame-throwers, each prodigiously-pencilled panel provides a terrifying insight into just how dreadful it must be for anyone, even a heartless hoodlum, to be backed into a tiny room, crammed full of everyday furniture, and facing so inhumanly painful a fiery demise.

Creator: Alfred Paige, Script: Alex De-Gruchy, and Art: Igor Kurilin

Blowtorch: Bad Roads #1 - Page1 Comics

BLOWTORCH: BAD ROADS No. 1, November 2023

Described in its solicitation synopsis as “the bare-knuckled, rough and tumble, gritty, bloody crime thriller you’ve been waiting for”, Alex De-Gruchy’s script for Issue One of “Blowtorch: Bad Roads” definitely lives up to its promise of being an utterly uncompromising twenty-two-page periodical packed full of savage violence and edge-of-your-seat shenanigans. In fact, arguably ensnaring something of Derek Kolstad’s neo-noir action franchise “John Wick”, this comic should captivate its audience’s attention just as soon as the ex-military mercenary’s sport utility vehicle is stolen from a petrol station and its owner menacingly vows to track the thieves down.

Delightfully though, Alfred Paige’s mask-wearing creation doesn’t simply wade into the local criminals’ hideout all guns blazing as some less well fleshed out characters might do, and instead initially bides his time watching his opponents – even when the gang’s leader mercilessly cuts the throat of one hapless fellow hoodlum who unwisely was stealing drugs money from him; “Make sure they weigh him down enough, I don’t want his bones ever seeing the light a’ day.” This patient approach makes the subsequent firefight all the more genuine and believable, especially when its generated by the C.H.E.S.S. operative understandably thinking that a helplessly bound boy in a wooden shed is probably a prisoner, rather than the boss’s disconcertingly loyal lad.

Of course the big pull for any perusing bibliophiles is the insane action which occurs once Blowtorch heads for his pilfered vehicle and starts gunning down anyone foolish enough to get in his way. Rather excitingly, this exchange of bullets does not go all one way either, as Richard encounters much more resistance than he was anticipating. Indeed, one of this book’s best moments comes after the cold-blooded killer is back in the seat of his beloved SUV and attempting to make an unsuccessful drive for freedom.

Equally as good at pencilling as De-Gruchy and Paige are story-telling is Igor Kurilin, whose black and white panels add a distinctly dark and foreboding night-time ambience to the publication’s layouts. The illustrator proves especially good at capturing all the last second decision-making that takes place within the former soldier’s mind, as events increasingly grow out-of-hand due to more and more of Conroy’s heavily-armed minions congregating upon his progressively perilous position outside a farmhouse.

Creator: Alfred Paige, Script: Alex De-Gruchy, and Art: Igor Kurilin

C.H.E.S.S. #3 - Second Sight Publishing

C.H.E.S.S. No. 3, September 2021

Previously described as ‘G.I Joe meets the Agents of Shield’ it is doubtful that either Don Levine or Joss Whedon’s action-packed franchises ever truly matched the utterly enthralling high-octane shenanigans seen within Issue Three of “C.H.E.S.S.” Indeed, whether the comic’s readers are mesmerised by all the dirty dealings which take place before Yumi and their hit squad strike, or simply ensorcelled by Alex De-Gruchy’s subsequent pulse-pounding punch-up once it becomes clear to Blowtorch’s team-mates that their presence in Philosopher’s Walk is known to their enemies, few within this twenty-two page periodical’s audience will have been able to put the book down until it was completely finished.

Foremost of this hooks has to be the publication’s opening and the writer’s well-paced build-up featuring poor Footpath’s deadly interrogation at the hands of her captors. Marking out the seemingly hapless Rowan Kelly Moore’s demise as a real possibility if their supposedly covert military mission fails, it is not difficult to imagine many a bibliophile actually holding their breath as each of the titular team’s roster quietly confirm their assault positions as a large, cuddly Panda bear carrying a harmless-looking yellow balloon nonchalantly dances its way towards one of the operatives.

Delightfully though, Alfred Paige’s creations aren’t simply concerned with a mass, heavily muscled melee either, due to a couple of subplots prodigiously playing out during the scintillating smackdown. Debatably the most bewitching of these surrounds an assassination attempt upon the man behind C.H.E.S.S. in Avery’s Arlington-based home - which involves a partially snake-faced killer who takes many a sock to the jaw (and stab to the chest) before finally being laid low. However, the notion of masked hoodlums blasting their way into Takashi Nakadai’s headquarters and snatching one of the weapons manufacturer’s armed guards is not to be sniffed at either; especially when the outrageously brave move occurs during Footpath’s attempted escape.

Fiendishly depicting all this slaughter and mayhem with gleeful relish is William Allan Reyes, whose excellent pencils do a great job of highlighting both the painful apprehension on Moore’s sweat-drenched face as she endures Scarlette’s telepathy and some electric shock treatment, as well the determination upon Pinpoint to defeat his opponent and help support his fellow team-mates; “Well, here you go! My head’s not the kinda place you wanna go poking around in, lady.”

The regular cover art of "C.H.E.S.S." #3 by William Allen Reyes

Blowtorch #3 - Second Sight Publishing

BLOWTORCH No. 3, March 2022

Despite creator Alfred Paige’s understandable upset at this comic being two pages short due to “a printing error”, there’s still arguably plenty of pulse-pounding pugilism to enjoy in Issue Three of “Blowtorch”, courtesy of its publication-long punch-up, an utterly insane car chase to the steps of a Mesoamerican pyramid, and simply stunning, purposely planned plane crash. Indeed, for those bibliophiles who like their senses to be persistently assailed by eye-winching socks to the jaw and catastrophic explosions Alex De-Gruchy’s adrenalin-fuelled plot has all their bases covered; “Stay down, ladies. This is probably only gonna get messier.”

Furthermore, there’s a good deal of banter to be enjoyed between both this book’s titular character and mean-spirited partner Pinpoint, as well as with its main masked antagonist Davenport. Rather neatly inserted amidst all the sense-shattering shenanigans, these tense verbal exchanges actually provide some much-needed exposition as to why Avery Davis’ two top C.H.E.S.S. black ops agents are at something of a distinct disadvantage in trying the capture their formidable target alive – especially once Blowtorch quite foolishly makes “the middleman” aware of their mission’s overriding objective.

Setting aside all the bone-crunching blows, showers of hot lead and high-octane antics, this comic’s narrative also provides some nice interpersonal development between Richard Kinkaid and James Washington, as the two widely contrasting team-mates temporarily set aside their differences with one another so as to semi-successfully conclude their latest assignment. Such growth is debatably quite unusual when it comes to action-focused storylines, so Pinpoint’s eventual begrudging acceptance of Blowtorch as squad leader is one of the highlights of the twenty-page periodical.

Perhaps therefore this book’s sole quibble lies with some of J.C. Grande’s over-enthusiastic layouts, which are occasionally so crammed full of debris and destruction, that it makes it difficult to discern who is hitting who. These exuberantly pencilled and heavily inked panels prove particularly frustrating to navigate when it comes to some of the scenes depicting Infrared’s no-holds barred battle with a similarly souped-up automaton, as both robots appear quite similar in their appearance as they brutally batter their way through a series of walls, ceilings and other steel-supported structures. Indeed somewhat disconcertingly, it may well take some fans a few read-throughs of the fight's final stages to fully gather which android actually won.

Creator/Story: Alfred Paige, Plots/Writer: Alex De-Gruchy, and Pencils & Inks: J.C. Grande

Pinpoint: Collected Edition - Second Sight Publishing [Part One]

PINPOINT: COLLECTED EDITION, December 2020

Wall-to-wall with testosterone-filled combat, as well as featuring an enthralling plot containing missing agents, a mysterious island “which emits some sort of nigh-undetectable natural radiation” and a gang of ruthless killers, it’s doubtful many fans of Alfred Paige’s titular creation will be disappointed with Philipp Morgan’s script for this opening third to “Pinpoint: Collected Edition”. Indeed, any initially dubious bibliophile should find themselves instantly hooked by this trade paperback's combination of plain-talking dialogue and explosive action sequences just as soon as they encounter its opening flashback depicting the Black Ops operative’s torrid time serving in Afghanistan.

Admittedly, the arrogant “rough man” himself is arguably somewhat dislikeable as he contemptibly outraces two police patrol vehicles to ensure he arrives at his meeting with Avery Davis on schedule, and subsequently just hands his motorcycle helmet to the well-spoken women waiting in the wings to welcome him. But Washington’s brashness is soon shown to simply be the veteran soldier’s way of surviving the harsh environments he regularly finds himself inhabiting, even when surrounded by a murderous mob of heavily-armed children determined to discover what the man has in his luggage; “What the hell is wrong with you kids!! Tell your boys to put the guns down and you might even live to see puberty.”

Equally as intriguing as Pinpoint’s very personal motivation for accepting such a lethal-looking mission is the way this publication’s storyline is actually plotted. Initially beginning with James’ aforementioned military time inside the landlocked Islamic Emirate, the audience are suddenly brought bang-up-to-date with a chairbound James being horribly tortured by the very criminal he visited Eden to encounter, before being unceremoniously deposited back to the bald-headed agent’s initial briefing by Davis at an undisclosed security facility somewhere within the United States’ capital. This rollercoaster of a ride only really settles down once Washington is aboard a containment vessel heading for the island, and does a sterling job in showing how maniacally murderous a pathway the lone ‘cutthroat’ is travelling along.

Edson Alves is also a pivotal part of the successful storytelling taking place within this graphic novel's first twenty-five pages. The artist imbues Pinpoint with all the muscled mass a reader would arguably expect from an operative who heavily relies upon physical intimidation to see him safely through a dangerous scenario, and undoubtedly pencils one of this comic’s highlights when James angrily stubs out his cigar in the left eye socket of an unwisely belligerent bartender.

Story: Alfred Paige, Plots/Scripts: Philipp Morgan, and Pencils: Edson Alves

Blowtorch #2 - Second Sight Publishing

BLOWTORCH No. 2, June 2021

Starting with a seriously insane punch-up inside a fast-falling helicopter, and concluding with a sense-shattering shoot-out between some of Avery Davis’ top operatives and a mechanical killing machine, there isn’t debatably much room for a bibliophile to breathe in Issue Two of “Blowtorch”. Fortunately however, that is far from a bad thing, with Paige Alfred and Alex De Gruchy’s collaborative penmanship crafting a highly engaging storyline concerning an assassin-turned-drug dealer quickly realising that his change of occupation doesn’t sit terribly well with his political masters; “I genuinely hoped this wouldn’t be necessary and you’d actually have a solution up your sleeve… But me handing Fitzgerald your head should go some way to fixing this mess.”

Admittedly, not every scene in this twenty-two page roller-coaster of a read is crammed full of high-octane shenanigans and ferocious fire-fights. But even the dialogue-heavy initial briefing by Richard Kinkaid’s boss as to C.H.E.S.S.’ latest mission is delivered in such a dramatic way, that it still provides plenty of excitement and intrigue. Indeed, one of this comic’s greatest assets is that it is clear straight from the pair’s opening exchange that Blowtorch and his team-mate Pinpoint don’t get along with one another all that well; especially when Davis puts the facially disfigured titular character in charge of abducting a highly rated professional assassin.

Heated exchanges and veiled threats aside however, the pair immediately realise they have a dangerous job to do, and their ability to work well together despite their differences of opinion leads to some of this book’s most memorable action sequences. Foremost of these set-pieces is arguably the image of a gun-toting James Washington literally dangling off one of Infrared’s robotic arms, whilst the android itself is clinging on to the side of a swooping helicopter. Albeit Pinpoint subsequently diving behind a variety of garden-based stone statues as large chunks of masonry are torn up into the air around him by a semi-automatic shotgun, probably comes a close second.

All of these marvellously visualised moments are wonderfully illustrated by Osvaldo Pestana Montpeller, whose gritty technical style of pencilling really suits the black and white colouring of this comic. In fact, the Cuban artist’s attention to detail whilst depicting the breakdown in relationship between middle man Gareth Davenport and Mexican-American former-Marine Michael Cabral is sublime, to the point where some in this publication’s audience can probably hear the older killer’s sigh of disappointment when he realises his only course of action following a semi-bungled hit-job is to shoot his cybernetically-enhanced employee dead in cold blood.

Authors: Alfred Paige & Alex De Gruchy, and Artist: Osvaldo Pestana Montpeller

Blowtorch #1 - Second Sight Publishing

BLOWTORCH No. 1, February 2021

Absolutely crammed full of pulse-pounding action, and providing plenty of enthralling insights into the titular character’s violent background, this one-shot by Alfred Paige simply doesn’t stop entertaining its audience from the moment Richard Kinkaid picks up his mobile phone to hear the voice of “the nurse that saved his life” eight years ago, through to the masked mercenary’s debrief with his boss Avery Davis a few days later. In fact, the twenty-eight page periodical’s plot, scripted by Alex De-Gruchy, could arguably be seen as being the perfect mix of mysterious intrigue, sense-shattering shenanigans and emotional drama; “However things ended between us. That doesn’t mean I don’t care. I always cared. I just… screwed it up.”

Foremost of this comic’s considerable strengths is the fact that Blowtorch’s deep-rooted connection to Suzanne is absolutely palpable just as soon as he receives word that his former lover is in danger. Supposedly on guard-duty at C.H.E.S.S. Headquarters in Colorado, the lead protagonist simply drops everything in order to fly to the woman’s rescue at a “top-secret government program hidden away in Alaska.” However, rather than simply pen Kinkaid as some sort of one-man army, he is cleverly depicted as someone who cares so strongly for the military medical practitioner that “the human weapon” isn’t afraid to immediately accept the help of his team-mate, Footpath.

In addition, despite the facially-disfigured soldier carrying enough weaponry to make even the Punisher blush with embarrassment, the storyline continues to suggest that at any moment Richard might actually fail in his mission and witness Suzanne being tragically killed before his very eyes. This intense atmosphere debatably permeates every black and panel beautifully pencilled by Montos, and leads to some spine-chilling sequences once it becomes clear just how badly the authority’s experimentation on dead American soldiers has gone awry.

Perhaps this publication’s biggest draw though, lies in its disconcertingly super-powered adversary S-26. The insane homicidal maniac really does generate a formidable sense of foreboding dread in every scene in which the zombie appears. Yet that probably doesn’t quite stop this comic’s readers from having some sense of sympathy for the mass-murderer when it becomes clear he has “retained a vague memory of having two children”, and resultantly can be viewed as simply being a desperate father who is understandably determined to see his youngsters once again.

The webstore Virgin exclusive variant cover art of "BLOWTORCH" #1 by Montos

C.H.E.S.S. Aliens Passage #1 - Apogee Comics

C.H.E.S.S. ALIENS PASSAGE No. 1, January 2020

As “action-packed” one-shots go, it is hard to argue that Alfred Paige's narrative for “C.H.E.S.S. Aliens Passage” doesn’t deliver on its promise to take its readership on a high-octane journey packed-full of zinging bullets, roaring hot spurts of flame and sense-shattering explosions. Indeed, the creator of the Command Headquarters of Espionage and Strategic Strikes pens such a ferociously paced piece that doubtless few within this comic’s enthralled audience even managed to pause for breath before the twenty-four page periodical cataclysmically concluded. 

Fortunately however, despite its almost insane commitment to sense-shattering shenanigans, this publication doesn’t simply roll out a seemingly endless series of meaningless fight sequences, but actually spends quite come considerable time building up the relationship between “two of the C.H.E.S.S. Team favourite characters.” These strained interactions, as one can hardly imagine the likes of James Washington and Richard Kincaid truly getting along with one another, adds a palpable sense of tension to the proceedings, which genuinely encourages the book’s bibliophiles to repeatedly question what its sole two protagonists are actually going to do so as to thwart the surprisingly sudden alien invasion of Nevada in America.

Such second-guessing lies at the heart of this comic’s success, and doesn’t just end when Pinpoint’s standard mission goes horribly awry with the revelation that his target quite possibly isn’t human. In fact, the gun-toting maniac’s obsessive desire to successfully complete his assassination of a "scumbag", despite it being substantially belittled in the face of the far more serious threat to the future of the planet, means Blowtorch can seemingly never confidently believe his bald-headed subordinate is going to do precisely as ordered; “Tell ya what, Blow’ -- I’ll flip ya for it. You wanna call it? Loser plays tour guide.”

Adding to this scintillating story’s raw energy is Edson Alves' artwork, which does a great job of portraying the sheer pleasure Washington takes in gunning down row after row of hapless Roswell Greys in his rage-fuelled determination to finally kill his potentially immortal target. Likewise, the illustrator also does an excellent job in depicting the remote landscape surrounding the secret operatives during their difficult 'military operation'. Whether it be a badly-boarded old wooden mine building or a dilapidated brick house, the sheer isolation of the heroes’ situation is perfectly captured by this book’s pencilling.

Writer: Alfred Paige, Edits & Letters: Bernie Lee, and Artwork: Edson Alves

C.H.E.S.S. #2 - Apogee Comics

C.H.E.S.S. No. 2, March 2019

It is hard to imagine how any creative team could better immerse their audience with so relentless an assault upon their senses as Issue Two of Alfred Paige’s “C.H.E.S.S.” does straight from the start. For whilst the twenty-two page periodical momentarily lulls any unsuspecting bibliophile into a false sense of sedentary security with its opening eavesdrop upon a tense dialogue between Avery and his ‘on the ground’ team leader, Deborah Stewart a.k.a. Heart, the action very quickly ramps up a few notches as the comic shifts focus to Infrared and Footpath’s supposedly stealthy night-time investigation of the Conflict Technology Solutions Headquarters in Kyoto, Japan.

Dripping in atmosphere and an urgent need to be absolutely quiet as the team’s “killer robot” silently sneaks into Nakadai’s building via its roof’s access stairwell, this sequence’s palpable claustrophobic ambiance genuinely makes it difficult for a reader to breath for fear of alerting the establishment’s authorities, and additionally makes Schafer’s verbal reservations regarding the mission’s roster appear all the more irritatingly loud whenever he speaks to Stewart; “And you’d be surprised how stealthy Infrared can be. Hence the text feed, to save him speaking. Maybe you should follow his example, Schafer.” Fortunately however, for those perusing this publication whose lungs were starting to burst for lack of air, the suffocating silence is reasonably swiftly broken when the villain’s criminal cadre suddenly ambush the so-called failed robotic super-soldier, and literally all Hell is let loose in a staggeringly entertaining fist-fight between Rowan Kelly Moore, Infrared and Nakadai’s group of super-powered assassins.

The dynamically-pencilled artwork for this lengthy battle royale compellingly speaks for itself, and gains some considerable gravitas due to the combatants predominantly only having enough time to grunt in effort or groan in pain. As a result much of this mêlée’s dialogue actually stems from Avery’s dislocated team who are ineffectively trying to make sense of matters using their mechanical comrade’s badly disorientated text feed, and their resultant confusion as to what is happening wonderfully adds to the turmoil of the chaotic bout itself. Indeed, even after Footpath is knocked unconscious, courtesy of a cowardly strike from behind, it still looks as if the two “C.H.E.S.S.” operatives may yet come out on top until Infrared has an arm lopped off by the ferocious cybernetically-enhanced Stress and logically determines that “the situation was turning in the enemy’s favour.”

Creative Team: Alfred Paige, Alex De-Gruchy, William Reyes and Jesse Hansen

C.H.E.S.S. #1 - Apogee Comics

C.H.E.S.S. No. 1, August 2018

Highlighting the disconcerting dangers of mercenaries being armed with technology which incorporates a manufacturer’s kill-switch, this opening instalment of Alfred Paige’s creation “C.H.E.S.S.” must surely have gone down well with its readers courtesy of its action-packed mixture of pulse-pounding gun-play and the sort of adult-orientated seriousness many mature “Hasbro” fans probably wished the animated adventures of “G.I. Joe” incorporated. In fact, it’s hard not to draw several comparisons between the ever-commanding Avery Davis’ off the grid “covert unit” and the “line of action figures” who continually struggle against the evil Cobra Command, as both feature a plethora of bizarrely-attired combat specialists, code-names and secret headquarters in their bid to thwart terrorism taking over the Free World; “Your mission is to investigate Takashi Nakadai and his operations. At first we observe, and then if necessary we disrupt. And if, based on your findings, I deem it necessary… We eliminate.”

Fortunately however, this Kickstarter funded publication is far more than an imitation of the trademarked “Real American Hero” franchise, replacing the toy-line’s woefully ineffective fire-fights with plenty of gritty, downright vicious close combat which produces the sort of bodily mutilation and head-shots that wouldn’t look out of place within the “militaristic black-ops” adventures of “X-Force” by “Marvel Worldwide”. Supported by its colourful cast’s grim humour, most notably the exchanges between Pinpoint and the disturbingly masked Blowtorch, such pitched battles really do help power this comic through its plot, providing a tense, well-developed meeting between the team’s newly acquired arms dealer and a Kyoto-based information broker with a satisfyingly thrilling conclusion which subsequently raises some significant concerns as to the reliability of their “first visitor to our little mountain retreat”, Errol Schafer.

Perhaps penned somewhat less successfully by Alex De-Gruchy, quite possibly due to the somewhat limited ‘screen time’ this twenty-two page periodical provides them, are Nakadai’s own team of super-powered assassins who apparently are perfectly capable of both infiltrating a private estate across the other side of the world in Minnesota and, quite perturbingly, murdering an innocent mother and child so as to make a statement. Their ninja-like introduction at the start of this book is as welcome as it is truly intimidating, but disappointingly their scene at its end is arguably somewhat confusingly story-boarded, supposedly depicting Yumi throwing a tantrum and endangering her colleagues simply because the child wanted to see her father..?

Indeed, the artwork for Issue One of “C.H.E.S.S.” genuinely appears to be a mixed affair which at certain points, such as JC Fabul’s deadly depiction of thirteen CIS contractors who “were carrying out a mission in Ramada when they became surrounded by local insurgents and slaughtered”, provides some sense-shattering visuals. Whilst some of the other sketched sequences, most notably the aforementioned disagreement involving Takashi’s daughter “almost one-hundred feet below ground-level” appear to be of a debatably dissimilar quality. Such discrepancies are though perfectly understandable when one realises that the freelance illustrator Hakan Aydin laudably stepped in at the last minute so as to ensure the comic met its publication deadline when its Manila-born penciler fell ill.

Please note that for more updates on "C.H.E.S.S" you can go to its "Facebook" page or the "Apogee Comics" webstore.

Creator: Alfred Paige, Writer: Alex De-Gruchy, and Artist: JC Fabul