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

Shadowman #5 - Valiant Entertainment

SHADOWMAN No. 5, January 2022

As the beginning of an “all-new arc” goes, Cullen Bunn’s disconcertingly distressing opening to Issue Five of “Shadowman” certainly ticks all the boxes for its New York-based publisher’s wish list to making “the best fans on the planet the best stories that will pull them into the Valiant [Entertainment] universe…” Indeed, the notion of a truly desperate child inadvertently raising a hungry horde of the Undead whilst using a spell to reincarnate his beloved mother from a local gravesite is superbly penned, and genuinely provides this comic with a chilling, yet highly emotional, start to its story-telling; “They told me how to bring you back. And look -- you brought friends.”

Intriguingly, the Cape Fear-born writer also manages to use this highly engaging twenty-page periodical’s plot to throw some light on Jack Boniface’s private life as a simple musician from New Orleans. Alyssa’s evident admiration for the titular character’s skill with a sweet-sounding saxophone demonstrates that there is clearly more to Jim Shooter’s co-creation than a Darque powered super-hero who mindlessly battles grotesquely-shaped blights. The current Shadow Loa host clearly has both the discipline and passion to play his woodwind instrument with impressive gusto, and it therefore makes for a pleasant, momentary change of pace to see Jack basking in the cheering crowd’s applause following his successful stage performance.

In stark contrast however, this book’s final third is debatably a bit of a choppy, somewhat lack-lustre affair, which seemingly promises much and then delivers little apart from plenty of dialogue-filled word balloons. The notion of Boniface travelling to the Deadside to confront a literal army of multi-eyed, heavily-tentacled nightmares whilst armed with his deadly demonic scythe sounds like the recipe for a pulse-pounding fracas of the highest order. But lamentably, all Bunn’s narrative actually provides is Shadowman apparently trying to negotiate a peace-deal with his eternal enemies from Hell because he’s grown tired of killing them.

Fortunately, Pedro Andreo’s artwork definitely helps the reader negotiate such a surprisingly sedentary discourse, and undeniable adds some tremendous pathos to the aforementioned scene where a naïve infant son is briefly reunited with his dead mother. In fact, the Spanish illustrator’s exemplary handling of that deeply sad meeting, and the unsurprising consequence of Shadowman having to then cut down many a brain-eating cadaver afterwards when they attack some nearby hapless civilians, are easily the visual highlights of this comic.

Writer: Cullen Bunn, Artist: Pedro Andreo, and Colorist: Jordie Bellaire

Shadowman #4 - Valiant Entertainment

SHADOWMAN No. 4, July 2021

As demonic blights who walk upon this world go, Cullen Bunn’s monstrous creation for Issue Four of “Shadowman” surely must have disconcerted many within this comic’s audience with its unnerving ability to send both new-born babies and canine pets fatally mad with a psychedelic overdose. Of course the ‘Master of Horror’ incorporates plenty of other disturbing sub-plots into the twenty-page periodical, not least of which is the titular character finally having a face-to-face confrontation with this ongoing series’ lead antagonist. But when ‘boiled down’ this book’s central premise is arguably based upon Jack Boniface’s battle against a pill-pushing junkie who takes far too much pleasure in giving his hapless victims a ‘trip to end all lifetimes.’

Thankfully for “mankind” however, this depraved killer who can transform crawling toddlers into tentacle-faced hallucinogenic nightmares which even a mother can’t love, is soon confined to a London-based abandoned dwelling, and subsequently used by this publication’s writer as an opportunity to shed even more light upon the enthralling relationship between the titular character and his supposed supernatural benefactor, Baron Samedi. It’s abundantly clear that Boniface’s bony companion actually seems to relish misleading the Darque powered-champion from time to time. Yet on this particular adventure the loa of the dead readily admits previously playing Jack false for the sake of reassuring Jim Shooter’s co-creation that he is all-too serious in providing some assistance on this solemn occasion; “I’ve lied to you often and with great delight. But I’m telling the truth now. I did not know.”

Furthermore, Bunn’s narrative also takes a big step away from presenting Shadowman as simply a scythe-carrying super-hero who seems destined to thwart any Deadside incursions on an ever-repeating singular circle, by intriguingly having him finally realise the futility of just such an existence. Instead, it is made clear to both the skull-faced fighter and the reader, that matters are now far too advanced for such episodic interventions, and that a much larger, bolder strategy needs to be employed if humanity is not to be drowned out by the malicious magic of the man’s mysterious arch-nemesis. 

Undoubtedly helping the American author in this comic’s entertainment value are Jon Davis-Hunt’s layouts, which seem to be particularly relied upon towards the end of the book when an utterly delirious Boniface experiences the effects of the brazen blight’s mind-altering abilities up close and personal. Indeed, whether because Cullen desired to provide the illustrator with plenty of sheet-space with which to demonstrate his prodigious pencilling, or due to this magazine’s storyline requiring some ‘extra padding’, the artist provides one of the highlights of this magazine by drawing two consecutive double-page splashes of Jack struggling to withstand an intoxicatingly deadly assault upon his senses.

The regular cover art of "SHADOWMAN" #4 by John Davis-Hunt

Shadowman #3 - Valiant Entertainment

SHADOWMAN No. 3, June 2021

Presenting the titular character receiving a serious smackdown by a mysterious “sinister undertaker” during its opening sequence, Cullen Bunn’s script for Issue Three of “Shadowman” must have instantly gripped any and all readers with its enthralling look at just how disconcertingly tenuous the physical link between a Loa and their all-too mortal human host can be. In fact, long-term fans of Jim Shooter’s co-creation will probably struggle to recollect another storyline in which Jack Boniface’s unearthly powers are so sorely tested as they are in this “terrifying tour” of Barcelona’s streets and maze-like alleyways.

To begin with, a surprisingly vulnerable Shadowman is depicted as being on his back foot just as soon as the action-packed adventure starts, courtesy of “the supernatural defender” somehow being poisoned by his fast-paced pursuers’ ethereal blows. Coupled with the sudden loss of the hero’s trademark scythe, plus the subsequent depiction of Boniface’s alter ego taking another over-the-top beating, and everything about this comic’s pulse-pounding plot would seem to suggest that an understandably fearful lead protagonist is about to meet his final end; “In his eyes. I see something. For him, this is not an evil act. No. He wants to kill me because he sees me as an evil thing.”

This compelling hook is made all the more irresistible by Bunn’s brilliant inclusion of several harrowing scenes which show some of Jack’s impressively skilled peers already falling victim to the Pallbearer’s deadly assaults. The violent beheading of Spain’s keeper of secrets proves especially persuasive as an indicator of the lank-haired killer’s lethal abilities, and it is arguably hard not to feel a modicum of sympathy for the shaking, floating Loa as it realises that its own death is at hand, yet still tries to buy itself additional life by trading gossip and lesser known confidences with its invisible assailant.

Adding much in the way of visual excitement to these quite shocking shenanigans are Jon Davis-Hunt’s superb panels, which serve to both instantly entrap any perusing bibliophile into the masters of terror’s well-imagined world, and then carry them off on a truly disturbing journey across the Shadowman’s domain. Boniface’s battle against the Pallbearer provides a perfect example of this top tier pencilling by demonstrating the rapier-quick attacks of the Pallbearer’s Loas one minute, and then the sheer ineffectiveness of Jack’s physical punches upon an utterly unmoving foe in the next.

The regular cover art of "SHADOWMAN" #3 by John Davis-Hunt

Shadowman #2 - Valiant Entertainment

SHADOWMAN No. 2, May 2021

It really is very clear why publishers “Valiant Entertainment” are already referring to Cullen Bunn and Jon Davis-Hunt as a “bone-chilling team” if the collaborative creators’ work for Issue Two of “Shadowman” is anything to go by. Indeed, considering that this terrifying tale will probably wrong-foot many a bibliophile with the horrific outcome of just its opening sequence involving a seemingly harmless family foolishly stopping to ‘rescue’ a homicidal hitchhiker, there will doubtless be a timid few within the comic’s audience who in future will momentarily pause before gingerly turning this title’s pages and casting their eyes upon the next instance of abject gruesomeness.

Happily however, the ghastly fate of those mortals foolish enough to be seeking transportation to the deserted town of Enoch in Arizona isn’t simply a gratuitously graphic affair just for the sake of it. But is rather used to show just how depressingly dark the appetite of the run-down settlement’s resident demon actually is, as well as the insane grisliness of the three-headed beast’s plan to use a festering pile of slaughtered corpses to seed a rift to the Deadside.

As a result, this sense of revulsion generated by the inhuman way the creature’s over-zealous minions tear apart their latest victim limb by limb is clearly intentional, and arguably allows the reader to experience the actual emotions which subsequently motivate the somewhat indifferent titular character to finally act; “The Shadow Loa bound to my soul ensures that I can’t be scared. I can feel disgust though. I can be affronted by the nastiness I encounter. This is where the ghosts come from. Brought here to open the gate. Carcasses wedged like doorstops to keep the passage between worlds open.”

Similarly as successful in generating a sympathetic response for some of the grotesque farmer’s victims, is Davis-Hunt’s absolutely awesome illustrations and the way the artist pencils a pair of thrice-damned, fang-faced children as disconcerting flesh-devouring terrors. In addition, the effect of Enoch’s location straddling such a delicately-balanced cross-section of the universe is extremely well visualised by the video games designer, due to his panels constantly switching the municipality back and forth between its current-day depilated state and when it was previously a bit of a boom town.

The regular cover art of "SHADOWMAN" #2 by John Davis-Hunt

Shadowman #1 - Valiant Entertainment

SHADOWMAN No. 1, April 2021

Absolutely chock-full of some serious occult beatings and buckets of blood, Cullen Bunn’s narrative for Issue One of “Shadowman” certainly seems to live up to his belief that he “could make some of the horror heroes sing in a way that readers might not be expecting.” For whilst the North Carolina-born writer initially appears to have penned a fairly standard storyline concerning Jack Boniface’s alter-ego physically battling a crocodile-headed demon down a New Orleans back alleyway, the American author soon ramps up his tale’s paranormal qualities by transforming the titular character’s mass-murdering opponent into an unlikely wannabe saviour of sorts.

Indeed, by the very end of this “shocking supernatural odyssey” the bestselling master of horror ably demonstrates that this comic’s true monster is not the multi-fanged grotesque who has been systematically slaughtering a number of supposedly innocent Masqueraders. But is actually the elderly widower Elsbeth Martinique, who along with her ‘church’ of gore-splattered devotees, plans to use the creature’s ensnared partner as a means to pass through the veil of reality; “Th-They summoned me. Shackled me. Harvested m-my blood… For their games. But… Y-You… Have come to rescue me.”

Intriguingly, this twenty-page periodical doesn’t just depict a straightforward battle between the Shadowman and an over-ambitious amateur ‘sorceress’ either though, with Bunn instead managing to manoeuvre all sorts of other interesting characters and uncanny conundrums into the mix. Foremost of these has to be the skeletal King of Death, who despite apparently being far from one of Boniface’s friends, undeniably lends the “powerful protector” a hand in keeping the world safe from Martinique’s misguided night-time soiree. However, Baron Samedi isn’t the only enthralling insight into “the other realm”, as Jack comes face-to-face with a ravenous swarm of flesh-eating corpse locusts and a spectral figment of the man’s imagination.

Adding enormously to this fright-fest is “bone-chilling artist” Jon Davis-Hunt, whose excellent layouts really draw out both the dynamic nature of Jack whenever he resorts to fisticuffs as a solution, as well as the truly horrific unpleasantness which can occur when ill-meaning laypersons attempt to pervert demonic magic to sate their own depraved appetites. In fact, the scene portraying Elsbeth’s face literally being torn asunder by a swarm of carnivorous devil-insects will doubtless haunt many a perusing bibliophile well into the night.

The regular cover art of "SHADOWMAN" #1 by John Davis-Hunt

Divinity III: Shadowman & The Battle For New Stalingrad #1 - Valiant Entertainment

DIVINITY III: SHADOWMAN & THE BATTLE FOR NEW STALINGRAD No. 1, February 2017

Undeniably “an essential standalone tale from the Stalinverse”, within which “the Communist-occupied streets of New York City” desperately try and rid themselves of their Soviet oppressors, Issue One of “Divinity III: Shadowman & The Battle For New Stalingrad” must have immediately captured the attention of its American audience with its opening obliteration of Liberty Island, courtesy of a barrage of Red Army rockets. However, if this “huge symbolic gesture” didn’t attain the desired effect then Scott Bryan Wilson’s subsequent narrative depicting the Roman goddess being replaced with an even larger copper statue of the Russian dictator Joseph Stalin most assuredly would have done.

Admittedly, for those patriots unable to stomach such an affront to the ‘virtuous’ American values of Libertas, the majority of this twenty-two page periodical does frantically try to readdress the balance by having Jack Boniface hastily lead a revolt against his swaggeringly confident “commie” overlords. But the heroic uprising is entirely anticipated by the annexed authorities, and thus, despite outnumbering their hated foes, the opening third of this comic is ultimately dedicated to the Soviet enforcement officers gunning down large numbers of unarmed rioters, stabbing them through the head with combat knives, gouging out their eyes with black leather gloves, and even attacking them with chainsaws…

Such utter wanton violence is apparently entirely justified by the pen of the publisher’s “rising star” as the mass hapless slaughter convinces the titular character to “resurrect the sacred power of his people”, “raise an army of the dead to meet the Russians where they stand”, and bravely battle the dictatorship’s premier super-powered comrades, X-O Manowar and Komandar Bloodshot; two of Valiant Entertainment’s most recognisable properties who have had a severe facelift following the installation of Joseph McCarthy as a “puppet President of the United States” in 1951. 

Robert Gill’s contribution to this “Stalinverse” one-shot is arguably just as unsettling as Wilson’s scintillating script supposedly corroborating that communism is “the great equalizer, brother!”. For whilst the artist’s breakdowns of the New Yorkers’ bloodily remonstrating with their tormentors generally consist of graphic mutilations of the most eye-watering kind, his depiction of Shadowman trading punches with the sneering X-O Manowar are bone-crunchingly good, and really add to the sheer brutality of the close-combat conflict.

Writer: Scott Bryan Wilson, Artist: Robert Gill, and Color Artist: Andrew Dalhouse