Story: Jody Leheup, Sebastian Girner
Art: Mike Spicer, Nil Vendrell
Cover: Andrew Robinson
Variant Cover: Daniel Warren Johnson, Paolo Rivera
Publisher: Image Comics
Shirtless is back again! After what seems like forever (it was really only a few weeks) SBF is back for another installment in Shirtless Bear-Fighter 4. I know I shouldn’t be this excited about talking bears and an evil toilet paper corporation but I AM! Sometimes adulthood gets in the way of a good time and SBF has been wonderful for that these past few issues.
Let’s take a look at how things are shaping up for the heavily muscled hero in this newest issue. Enemies and allies are revealing themselves in full force. Jaxson Logger shows his hand and he’s out for a forestpocalypse so that he can supply the ply to rule them all.
Meanwhile, at Fuzzy Wipes headquarters, we find Silva and SBF’s Mama being left to bond under lock and key far away from the action. Multiple walls are broken in this issue, metaphorically and physically, and the series’ signature wit continues to entertain me thoroughly.
We are at Part 4 so things have a bit more seriousness to them, as much as there can be with magic bacon, bears that can drive and this odd universe. What’s great about this issue is despite solemn revelations taking place, there continues to be enough anthropomorphic fun to take the edge off this. It leaves the reader with a blend of the enjoyment that comes with a more engrossing story and the ability to jump in and out of the read as one would a lighter read. Somehow this writing team has managed to make a simple character one I actually care about. At the end of each issue, I want to know what’s going to happen next and wait impatiently for the next SBF to drop.
The artwork is still excellent. There’s a combination of older comic book techniques that are more simplistic with less detail in features and modern where we see a lot more detail drawn in. This fits very well with the style of the book. When you combine this with the well-applied color theory, it lends itself to a well-rounded set of imagery. Vendrell and Spicer have used thinner lines and muted colors for settings and less action intense sequences and emboldened line work and louder color to draw attention or convey action.
Originally published on Outright Geekery