Space Ghost #5: There Is Only The War

Pepose goes full space action adventure in Space Ghost #5. The world opens up in a way it hasn’t to his point, and in the process reminds the reader that Space Ghost is a bigger presence in the galaxy beyond his own issue-to-issue adventures. It’s also nice to see him not just punching his way through an adversary but also trying to reason with the two sides in this conflict. That’s not to say there isn’t action here. There is. But it’s very purposeful in a bigger picture sense.

The story makes Jan a key character here as she is on a key solo mission to uncover the truth behind the sniper attack that triggered the war. This isn’t the first time that one (or both) of the kids have been key in a story, but here the trio feels more like a team than Space Ghost and two sidekicks. Developing this dynamic makes these kinds of big, galaxy spanning stories more appealing because Pepose can open them up with even more points of view.

Space Ghost #5’s overall war story is exciting. The mystery of who conspired to restart the war includes some palace intrigue. Jace’s role in getting to the bottom of things is a little convenient given how much was made of his capture in the previous issue, but it’s easily overlooked thanks to the issue’s fast pace. Indeed, Space Ghost #5 is a high energy issue overall, moving along at a steady clip, taking a breath only at points where the story requires a little extended dialogue. There is no wasted space. Pepose also includes a brief reference to the mysterious enemy that has been pulling the strings throughout his second run.

Lau’s use of shading is liberal throughout Space Ghost #5. His most detailed shading used to be reserved for Space Ghost himself, but as the series has progressed, Lau has widened his use of it. This is seen especially with Jace and Jan whose faces were often absent of any significant detail. In fact, this is the best issue yet when it comes to balancing the softer look of youth with additional detail when it comes to Jace and Jan.

Thanks to the increased use of shading (Lau’s style remains one that employs patches of close, thin lines and some crosshatches), all the characters take on added dimension. The result is that all of them, especially the assorted combatants and their leaders, have the same kind of presence that Space Ghost does. It’s ideal for a story that features so many background characters.

That same detail-producing shading works well with settings as well. One intense sequence involves Space Ghost trying to disrupt a massive tsunami. Lau’s work makes the wave look multilayered, giving it dimension, especially relative to the landscape and sky around it. In the same way that Lau’s detailed shading makes Space Ghost look powerful, so too does it work with non-character threats such as this tsunami.

Dalhouse’s layered coloring contributes to the tsunami in particular, adding still more power to the natural event. Multiple shades of blue mingle to create a sense of dimension as the reader sees the wave from the side rather than head on. This kind of layered coloring is found throughout Space Ghost #5 as Dalhouse’s work pumps up already strong art in wide views and character heavy panels.

War story not withstanding, Space Ghost #5 is frequently dialogue heavy. It would be easy for dialogue to interfere with Lau and Dalhouse’s strong work. Esposito does a good job organizing the bubbles and keeping them out of the way. The Crystalline Empire’s boxy dialogue bubbles and text reminiscent of old dot matrix printers again reinforces an inorganic nature that suggests an existential difference between the two sides of the conflict.