Space Ghost #11: They’re Back

Character progression is a key component of Space Ghost’s success. That quality made Space Ghost #10 and its nominal antagonist, Space Spectre, the compelling and overwhelming success that it was. But even positive progression risks negative fallout. There is plenty of that in Space Ghost #11.

Robo Corp and Doctor Xander Ibal have had quite enough of Space Ghost. The doctor wants Blip back, and in Space Ghost #11 he’s recruiting familiar faces to accomplish that. Metallus, Zorak, Moltar, the Widow, Brak, and Creature King join together in the Council of Doom and take the fight to Space Ghost. Meanwhile, Space Ghost’s relationship with the kids has taken a step backwards.

Pepose infuses Space Ghost #11 with a two steps forward, one step back sensibility. He takes the raw emotion generated by the Space Spectre encounter in the previous issue and turns it on its head. The result is a Space Ghost that is once more aloof as he interacts with Jace and Jan. There appeared to be a huge step forward in their relationship coming out of Space Ghost #10. But those relationships have clearly regressed and changed in Space Ghost #11. Arguably this backstep can be frustrating for a reader. But it’s justified by the ongoing story. Pepose isn’t simply resetting the characters back to a near zero stasis as happens with many superhero comics.

The villain team-up that happens in Space Ghost #11 is a novel idea as well as a somewhat unexpected one for this series. To this point, Space Ghost has been almost entirely a series of one-and-done stories. There has been continuity with the main characters’ interactions and development, but the stories haven’t flowed from one into the other, nor have serious consequences developed. Space Ghost #11 finally pulls elements from previous issues together. The result is the most compelling hero/villain conflict in the series thanks to the characters’ established past.

Space Ghost #11’s action sequences immediately carry more weight because the enemies are familiar. Panels featuring different combinations of Space Ghost and the various villains are more dynamic than most conflicts because the characters are all recognizable. Space Ghost isn’t fighting nameless underlings in the biggest action sequences. Instead he’s facing villains the reader recognizes.

Many panels in the action sequences between Space Ghost and these recognizable villains are wider looks at multiple characters at once (as opposed to close ups on Space Ghost as he’s assaulted by enemies no one really cares about). The downside is that in these wider panels, Lau isn’t able to apply the same level of detail to the characters. Rather than his lighter, more subtle lines that combine to create contouring, Lau uses darker, solid fields to create shading.

Panels with character close-ups are just as high quality as usual, though. This is ultimately more important than the slightly less detailed action sequences. Space Ghost #11’s emotional core is the suddenly deteriorating relationship between Space Ghost and the kids. Lau visually communicates that emotion with his usual skill.

This same deftness with contour and dimension via his style of shading also creates memorable moments in the ongoing fight. An example is a half page panel of Zorak holding Space Ghost by the neck with a sickle poised to strike. Zorak’s expression is particularly vicious which further sells the desperate anger apparent on Space Ghost’s face.

Fight sequences in Space Ghost are frequently visual spectacles, owing heavily to Dalhouse’s coloring choices. The final pages are full of fire, energy blasts, and explosions. Practically the entire color spectrum is on display as greens and blues contrast with reds and yellow. Panels constantly jump off the page.

The combination of chatty villains who want revenge and heavier character oriented scenes between Space Ghost, Jace, and Jan create an unexpectedly text heavy issue. Beyond showy sound effect choices, Esposito’s best work is effective organization of dialogue bubbles and caption boxes. Their placement across panels and down pages makes the text easy to follow. Esposito also keeps them as out of the way of the art as possible–always key in visually intense sequences.