Book Of Shadows #4 - Valiant Entertainment

BOOK OF SHADOWS No. 4, February 2023

Brutally battering its audience’s senses straight from the start, Cullen Bunn’s concluding instalment to his “Book Of Shadows” mini-series essentially comprises of an exhausting twenty-page punch-up which enthrallingly appears to ebb and flow with every other sense shattering scene. Indeed, each time it seems certain that Exarch Fane’s murderous army of werewolves and vampires are about to complete their horrific Ritual of Sacrifice, “the supernatural heroes of the Valiant Universe” somehow manage to pull the rug from under the all-powerful warlord’s feet.

Foremost of these hooks arguably stems from the villain’s ability to temporarily control Punk Mambo and bend the Voodoo Priestess to his wantonly violent will. This demonic possession quite cleverly serves several purposes, such as providing the “terrifying ancient threat” with another voice other than Fane’s to persuade Persephone to help build a great Library of Darkness, as well as providing the two female magic users with some humorous banter at the adventure’s climatic end. However, it also enables Doctor Mirage and the Eternal Warrior a little more time to convince a “storm of ghosts” to aid them in the battle – something which ultimately results in the black-hearted sorcerer’s eventual defeat.

Just as enjoyable is the fact that Bunn doesn’t simply have the likes of Shan Fong trounce the “armies of the damned” by simply waltzing back into the main fray at the last minute either. In fact, despite successfully directing all the vengeful souls the protagonists' ghoulish, armour-clad foe has previously slaughtered right back at him, it’s soon shown that Exarch is still too powerful a magus to be beaten by paranormal means alone. This subversion of expectations genuinely comes as something of a shock, and quite wonderfully then leads into a final swashbuckling swordfight between Gilad Anni-Padda and his long-time nemesis; “Come on, then!”

Phenomenally pencilling all these gratuitous goings-on and psychic shenanigans is Vicente Cifuentes, whose terrifying transformation of Mambo into a wide-mouthed Nosferatu is one of this publication’s many visual highlights. Furthermore, the Spanish illustrator’s ability to surround the central cast with all manner of non-corporeal entities and slavering undead helps sell the impression that this tale is taking place amidst a massive, sprawling street invasion of the unholy, as opposed to just a few characters trading blows in isolation.

The regular cover art of "BOOK OF SHADOWS" #4 by Rafael Albuqueque

Book Of Shadows #3 - Valiant Entertainment

BOOK OF SHADOWS No. 3, January 2023

In view of this twenty-page periodical being postponed for four months in September 2022, following the news that its New York-based publisher was sadly undergoing “major editorial layoffs”, quite possibly the biggest question facing fans of Jack Boniface’s super-magical alter-ego when they finally got their hands on Issue Three of “Book Of Shadows” was whether the wait was worth it. And disappointingly, the majority probably felt it wasn’t considering just how bemusing Cullen Bunn’s script is for this titanic team-up against “an ancient, otherworldly warlord”.

To begin with the American author suddenly seems to have turned this mini-series’ central antagonist into a combination of Clive Barker’s Pinhead and Jim Starlin’s mad titan Thanos, by depicting Exarch Fane embracing the painful flesh chains of Death whilst blissfully wrapped in the female skeleton’s fleshless arms. This notion of a besotted super-villain desperately trying to win the affection of so destructive a cosmic entity by murdering as many people as possible isn’t terribly original considering “Marvel Comics” delivered a similar storyline some thirty years ago, and also doesn’t debatably even explain how the situation has given him power over savage, space-hopping werewolves, viciously fanged vampires or the all-powerful Book of Shadows.

Similarly as stumping is Doctor Mirage and the Eternal Warrior’s sojourn to their enemy’s stronghold and an utterly bizarre encounter with some sightless wordsmiths who have disconcertingly decided to use the blood of the fortification’s guards as ink so they can add to the pages of their master’s terrible tome. Sure, this lengthy sequence is as enthralling as it is gruesome with one of the facially mutilated scribes chillingly signalling for the brave adventurers to cease their noise by agitatedly placing a particularly wizened finger to his lips. But along with Persephone’s uncharacteristically strange reluctance to continue her fight against Exarch’s army of ravenous lycanthropes and nefarious Nosferatu, the entire predicament arguably appears to have been penned simply to pad out the storytelling for the publication’s length.

Much more successful than its writing are debatably Vicente Cifuentes’ layouts, which in the main provide this comic with plenty of dynamic, pulse-pounding panels packed full of gratuitously-grisly fights and harrowing murders. Indeed, the beleaguered “mystic heroes” valiant stand on Earth against both werewolf and vampire is undoubtedly the highlight of the book, whilst the Spanish illustrator’s sketches of its more sedentary scenes, most notably those focusing upon Shan Fong as she wanders through the halls of Fane’s bastion, aren’t quite as proficiently pencilled; “They’re telling the story of the Book of Shadows… Building its power… with the blood and souls of our world!”

The regular cover art of "BOOK OF SHADOWS" #3 by Rafael Albuqueque

Book Of Shadows #2 - Valiant Entertainment

BOOK OF SHADOWS No. 2, August 2022

Despite primarily comprising of a lengthy battle between the “first-ever supernatural heroes team for the Valiant Universe” and the seemingly unstoppable Exarch Fane, Cullen Bunn’s storyline for this twenty-page periodical still manages to imbue its audience with plenty of exposition as to why “death and destruction” are suddenly raining down upon our planet in the shape of a werewolf army. In fact, at times, the Ghastly Award-winner crams so much information into this harrowing action-sequence, that it’s arguably difficult for a bibliophile to comprehend everything which is occurring upon an initial reading, and thus warrants a subsequent secondary perusal to better understand just what is taking place; “He’s… It can’t be… He’s fighting it!”  

Foremost of these hurdles to overcome is debatably the sheer number of arcane-powered artefacts which are almost causally thrown about the battlefield during the cast’s titanic tussle with “a villain from the Veil.” Obviously, the all-mysterious Book of Shadows takes centre stage, courtesy of this “tome of terrible magic” evidently being capable of single-handedly warding off anything which the likes of Shadowman, Punk Mambo, Doctor Mirage, Persephone and even Eternal Warrior can throw at its owner. But then there’s also the pocket-dimension housing Ring of Solomon, the portal cleaving Abyssal Sword, and Fane’s almost Sith-like hand-axe which this comic’s audience need to appreciate for the colossal close-combat weapon exchanges to make sense.

Thankfully though, once the titular characters have fled their unbeaten foe and Gilad Anni-Padda is given time to further explain just how he came to first encounter their enemy in the Veil, Bunn’s book slows down just enough to tell its scintillating story without throwing in something new every other panel. Indeed, this passage focusing upon “the Fist and Steel of the Earth” is a good opportunity for the publication’s audience to pause, assimilate everything which has come before them, and then follow the paranormal quintet as they heatedly discuss their future course of action to beat the “Dracula wannabe!”

Probably shouldering the Lion’s share of this comic’s workload is Vicente Cifuentes, who manages to cram an incredible amount of mystical magic into every one of his prodigiously pencilled panels. The Spanish illustrator does an especially noteworthy job of imbuing the snake-like chains constantly flailing around Fane with unnatural life. Whilst his vampire thralls, bald-headed, gaunt and disconcertingly fanged, move with all the ungainly athleticism a horror fan might expect from so lowly a minion of Nosferatu.

The regular cover art of "BOOK OF SHADOWS" #2 by Rafael Albuqueque

Book Of Shadows #1 - Valiant Entertainment

BOOK OF SHADOWS No. 1, July 2022

As an opening instalment to an “epic blockbuster event” goes, Cullen Bunn’s narrative for Issue One of “Book Of Shadows” certainly seems to deliver when it comes to sense-shattering soul-devouring and unpleasant, blood-drenched bodily mutilation. Indeed, this twenty-page tome’s depiction of Vernon Common’s hapless population being gratuitously devoured by a pack of sadistically savage werewolves at a local carnival, may well cause even the most die-hard of gore-fans to nervously wonder whether they should have an emesis bag within easy reach just in case they start to feel overly nauseous; “You’re all monsters! St-Stay away! Get away from me!”

Happily however, such barbaric, bestial feasting is reasonably short-lived, and arguably essential to the story projecting just how utterly disagreeable the comic’s central antagonist, Exarch Fane, actually is. Furthermore, there’s so much violent slicing, dicing and beheading contained within this publication that such remorseless savagery soon starts to lose its shock value, and the reader is quickly able to simply focus upon the unification of the Valiant Universe’s supernatural protectors for “the very first time”, as well as the introduction of the Manhattan-founded publisher’s “terrifying new villain”.

Bunn has previously made quite a fuss about his newly created “ancient being from beyond the veil of life and death”, and certainly provides the warlord with an impressive entrance as Fane nonchalantly bests Gilad Anni-Padda with a mighty display of Eldritch powers that leaves the Eternal Warrior devastatingly impotent. Somewhat disappointingly though, the Master of Horror's handling of Punk Mambo is less impressive, with the voodoo priestess suddenly adopting a seriously infuriating holier than thou attitude towards the Shadowman. Sure, Victoria Greaves-Trott’s disdain for Persephone is understandable enough considering the creature has previously attempted to extinguish all life on the planet. But the British magic-user’s persistent self-righteous sniping and sanctimonious disapproval of Jack Boniface allowing the mortal Blight to live does debatably start to wear a little thin after just a few panels.

“Bone-chilling artist Vicente Cifuentes” should also get a notable nod of approval for his layouts, which besides depicting the perilous predicament of a scytheless Shadowman getting bitten by a hairy lycanthrope, also imbues Anni-Padda’s diabolical dual with plenty of dynamic vigour. In addition, the Spanish visual illustrator does a prodigious job in pencilling this comic’s considerably sized cast with some great facial expressions, such as a shocked Gilad when he realises his previously defeated nemesis has significantly upgraded his powers, or the increasingly terrified Laney, as the little girl witnesses first-hand the supernatural abilities of her would-be rescuers.

The regular cover art of "BOOK OF SHADOWS" #1 by Rafael Albuqueque

Shadowman #8 - Valiant Entertainment

SHADOWMAN No. 8, April 2022

Whilst some bibliophiles may well be scratching their heads as to just how the exorcism of something so incredibly large as the Deadside actually worked, or just why the successful spiritual practice resultantly causes Persephone to physically manifest herself on Earth, the vast majority of this comic’s readers should still enjoy an absolute roller-coaster of a thrill-ride with Cullen Bunn’s narrative to Issue Eight of “Shadowman”. Indeed, as cataclysmic comic-sized conclusion’s go the American author’s plot for this twenty-page periodical is pretty much faultless, courtesy of the title’s considerably-sized leading cast all having a crucial role to play in the battle against a dimension packed full of soul-hungry, grotesquely-shaped ghouls.

Furthermore, the Cape Fear-born writer doesn’t simply resort to relying upon this series’ anti-heroes unconvincingly summoning up the power to topple a seemingly undefeatable foe from within, but takes the opportunity to demonstrate the competing politics which are at play amongst the Valiant Universe’s nefarious deities instead. This decision by the ‘powers that be’ not to resist having their supernatural sovereignties temporarily siphoned away into the likes of Punk Mambo and the Abettors, definitely helps establish the unified, fictional world which the New York City-based publishers are trying to create across their various book titles, as well as provides the storyline with a ‘believable’ explanation as to how Jack Boniface’s alter-ego can suddenly wield such god-like abilities.

Equally as engaging is the notion that despite all this non-corporeal clout, Shadowman’s victory over the Deadside is far from assured. In fact, this comic’s already palpably tense atmosphere is distinctly raised a notch or two higher once some of the more formidable blights return to their home world so as to confront Victoria Greaves-Trott and the British magic-user’s friends for a final time; “Oi! Darque! Over here! Like the bauble? I believe you were trapped inside for a bit, yeah? Well, mummy’s cross with you. And I’m sending you back to your room!”  

Also providing plenty of additional flourishes to this book’s storytelling is Pedro Andreo, who does an incredible job of cramming a planet-wide invasion of horrible, nightmare-inducing monstrosities within the confines of a single publication. The Spanish illustrator’s redesign of the Abettors once they have become invested with the powers of the Gods is a particular highlight, as is the artist’s pencilling of Mambo’s aforementioned battle with “the world's most powerful necromancer” and his hordes of multi-toothed minions.

The regular cover art of "SHADOWMAN" #8 by John Davis-Hunt

Shadowman #7 - Valiant Entertainment

SHADOWMAN No. 7, March 2022

Considering the sheer scale of the invasion Cullen Bunn attempts to encapsulate within this twenty-page periodical's storyline, as literally hundreds of Blights tear through “the veil” to conquer the world of the living, the American author’s technique of having Shadowman narrate the events via a soliloquy certainly does its job. However, for those ‘Valianteers’ who enjoy a comic’s cast actually talking to one another whilst desperately fighting off numerous ghoulish horrors spilling out from several dimensional gateways, this publication-long inner monologue can debatably prove a little tiring to wade through after a while.

Thankfully though, the titular character’s disconcertingly defeatist, dialogue-heavy thoughts as to how wrong he was to believe he could “bring about a peaceful resolution” to the mass mêlée doesn’t interfere too much with the general spectacle of seeing some of Valiant Comics’ greatest super-heroes going toe-to-toe against the clawing hands of flesh-hungry skeletons. Indeed, alongside a brief cameo of Bloodshot grimly gunning down some multi-toothed monstrosity with a mass of bullets, one of the highlights of this book has to be Alyssa and the Arbettors almost getting the better of Deadside in her physical form with an entrapment spell.

Likewise, there’s plenty for fans of Punk Mambo to enjoy, courtesy of the British magic-user seemingly taking centre-stage during the sprawling conflict’s biggest moment. Armed with a mystical harpoon, Victoria Greaves-Trott dramatically demonstrates just what a kick-ass “Mohawk-sporting, voodoo priestess” she can be, even though her attempt to skewer the personification of Deadside ultimately proves unsuccessful and the feisty, pink-haired rebel is fought off by Master Darque; “Keep them at bay? Keep them busy? Wait for an opening? Pick yourself up? Stay on your feet? Brush the dust of creation off your shoulders? Move? Duck? Dodge? Keep yourself alive as long as you can?”

Still, perhaps this comic’s ultimate success largely sits upon the shoulders of Pedro Andreo, whose sublime pencilling makes the heroes’ pulse-pounding predicament a visual treat for the eyes.. Absolutely crammed full of sense-shattering scuffles and dynamically-drawn disputes, the Spaniard’s panels make it super easy to imagine both the cacophony of sounds and the dour determination of the combatants, as it becomes clear to Jack Boniface’s friends that the living are fighting a losing battle…

The regular cover art of "SHADOWMAN" #7 by John Davis-Hunt

Shadowman #6 - Valiant Entertainment

SHADOWMAN No. 6, February 2022

Strangely reminiscent, at least to begin with, of William Malone’s 1999 horror flick remake “House on Haunted Hill”, Cullen Bunn’s script for Issue Six of “Shadowman” arguably grips the reader straight from the start, and doesn’t let them go until the twenty-page periodical ends with a truly alarming cataclysmic conclusion. In fact, even this comic’s more sedentary sequences, such as when Alyssa somewhat unwisely decides to investigate New Orleans’ graveyard during the dead of night with her new crew of Abettors, are still packed full of tension due to an all-pervading atmosphere of undead awakenings and ghoulish grotesques clamouring for the flesh of the living; “This cemetery is crawling with malevolent spirits. We’re not safe here. Not safe at all. Especially if the light goes -- uh…”

Leading the charge for this book’s compelling narrative is the premise that the titular character has been drawn to a long abandoned sanatorium outside Dennings, Missouri, following reports of “innocent people” being abducted by some utterly insane surgeon who has subsequently been “offering their mutilated corpses up as hosts to Deadside demons.” This chilling concept by the Cape Fear-born writer will debatably send literal shivers down the audience’s spines and makes Jack Boniface’s battle against overwhelming odds even more petrifying, as it’s clear just what the so-called false priest’s ghastly fate will be should he be unsuccessful in his escape and have the Loa ripped from his flesh by his grisly-looking assailants.

Perhaps this publication’s biggest draw however, is the return of the “British magic-user” Punk Mambo, who quickly makes her mark upon the adventure by momentarily outwitting Shadowman’s all-powerful adversaries with the spectral smoke from a Ghost Lantern. Smart-mouthed and as sassy as ever, the Mohawk-sporting rocker with a penchant for Voodoo magic not only helps show just how out of their depth the likes of Alyssa and her friends are with their “fancy torches”, but also strongly suggests that Boniface himself may well be unlikely to succeed against the personification of the Deadside alone.

Undeniably helping all these terrifying trials and tribulations with his top-tier pencilling is Pedro Andreo, whose sketches of the sewn-up victims of the aforementioned homicidal physician are genuinely the stuff of nightmares. In addition, the artist somehow manages to imbue Victoria Greaves-Trott with all the physical feistiness fans of Peter Milligan’s co-creation would expect, especially when a supposedly disinterested Mambo is cajoled into helping Jack by the ghost of Marie Laveau.

The regular cover art of "SHADOWMAN" #6 by John Davis-Hunt

Punk Mambo #1 - Valiant Entertainment

PUNK MAMBO No. 1, April 2019

As an opening foray into the mystifying world of Haitian Voodoo, Cullen Bunn’s script for Issue One of “Punk Mambo” arguably proved itself to be an excellent start to the British magic-user’s first-ever solo series in April 2019, by hurling its audience straight in at the deep end with a bout of pulse-pounding pugilism against a redneck tribe of lycanthrope-like cannibals. Indeed, such is the breathless, panting pace of its plot that many readers of this twenty-page periodical doubtless found themselves halfway through the publication before they even knew it.

Fortunately however, that doesn’t mean that the Eisner Award-nominee’s narrative is simply composed of one long fight scene, as the titular character’s encounter with Mama Grunch and her fearsomely-fanged babies contains so much more than an endless carousel of gratuitously-sketched panels populated with all manner of bodily eviscerations, mutilations and disintegrations. Yet it is hard not to enjoy the black-humoured banter as Victoria Greaves-Trott and her large, pink-hued spectral blob, literally tear apart a pack of savagely feral killers who have foolishly abducted some of the priestess’s New Orleans-based acquaintances with the intention of eating them… and perhaps utilising a few of their boiled bones as innovative pieces of costume jewellery.

Interestingly, despite Mambo’s ‘hard-as-nails’ bravado and evident super-natural ability to summon a lethally-sharp Reaper-blade out of thin air, the Cape Fear-born writer still manages to ‘wrong-foot’ his audience during this entrails-extracting kerfuffle by suddenly ridding the Mohawk-sporting protagonist of her super-strong 'Loa of doors and barriers and relentless beatings' just at the very finale of the fisticuffs. Ultimately, this shocking disappearance doesn’t detrimentally impact upon Punk’s spell-casting skills or the gore-spattered result of her battle with Grunch Road’s less desirable residents, but it does enthrallingly then lead into this comic’s more richly-penned second half, which quite wonderfully takes any perusing bibliophile by the hand so as to start exploring the heart of voodoo country.

Perhaps slightly less successful than Bunn’s storyline is Adam Gorham’s artwork, which whilst initially packed with all the detailed dynamic energy one might expect from a freelancer, who at the time of publication was confident enough to ask $500 for an original India ink on a 11" x 17' bristol, still debatably appears a little too rushed and undisciplined in places; especially towards this book’s end when the Canadian pencils Mambo stalking the disconcertingly bare-looking streets of a supposedly densely-populated marketplace.

Writer: Cullen Bunn, Artist: Adam Gorham, and Colors: Jose Villarrubia