Issue #6 of Vampirella/Red Sonja came out a couple of weeks ago. I’m just now getting around to writing a review, but I’ve been thinking about what I read quite a bit. I’m not really sure what was going on for much of this issue, but I trust that it’s all building up to something that will make sense in the end.
The first part of the issue is divided into two parts – one from the perspective of Vampirella and one from the perspective of Red Sonja. In each case, the character providing narration is present with the other character but can’t be seen or heard despite their best efforts. Then the scene suddenly shifts to a medieval village where Vampirella, dressed as a nun, has apparently been waiting a long time for Sonja to show up. The abruptness of this shift is a bit jarring and it isn’t explained well. I think maybe Jordie Bellaire intended to suggest that when Red Sonja reached out and touched Vampirella in the last panel of the previous scene it somehow jolted everything back to reality. Once we get to this point the book reads more like you would expect, with the two characters teaming up on an adventure, although Sonja handles the bulk of the action here.
At the conclusion of this section, they are both (again, abruptly without explanation) transported to New York, but not the present day. Based on the look of the car in the last panel I’m guessing the 1930s maybe. That’s where it ends for now while we wait for the next issue. Definitely the most head-scratching issue so far, but again I assume it will make more sense as the story continues to move along. One thing I noted in this issue that I’m going to keep an eye on is a panel showing a painting Vampirella did of Red Sonja. This was shown in the previous issue too. At this point I don’t understand the significance of it but since we’ve seen it in two consecutive issues I think it may end up have some importance.
The art on this book by Drew Moss and colorist Rebecca Nalty has been pretty consistent. With that said, I felt like this was the strongest issue so far. Part of that is probably the artists finding their groove with the characters, but it also has a lot to do with the writing. The events in this story gave Moss plenty of opportunity to create some interesting panels, especially during the medieval-era dragon battle.
So that’s my review of this book. If you’ve read it, I’d love to hear your interpretation of what was going on, especially at the beginning. It didn’t really click for me, but maybe it was obvious and I just missed it!