VAMPIRELLA: ARMAGEDDON #2 – New Comic Review

VAMPIRELLA: ARMAGEDDON #2, by Dynamite Comics on 8/20/25, sees Vampirella transported to the savage deserts of Hell, fighting for her life against grotesque creatures while her partner, a werewolf, explains her disappearance to curious bystanders.

Credits:

• Writer: Tom Sniegoski
• Artist: Kewber Baal
• Colorist: Omi Remalante Jr.
• Letterer: Jeff Eckleberry
• Cover Artist: Francesco Mattina (cover A)
• Publisher: Dynamite Comics
• Release Date: August 20, 2025
• Comic Rating: Teen
• Cover Price: $4.99
• Page Count: 24
• Format: Single Issue

Covers:

Analysis of VAMPIRELLA: ARMAGEDDON #2:

First Impressions:

Nobody expects a trip to Hell to be an enjoyable getaway, so Tom Sniegoski makes Vampirella’s inadvertent visit and eventful one. Filled with demons, dessert beasts, and more, this is the kind of adventure that makes Vampirella a hero.

Recap:

In Vampirella: Armageddon #1, Vampirella and her werewolf partner investigated the disappearances of immigrants in Sepulcher City, specifically in the Ackerman District’s factory. They confronted a demon high priest conducting a ritual. During the fight, Vampirella was blasted by a magical attack and sent flying into a conjured portal, which then exploded and closed, leaving her partner knocked out and the priest escaped.

Plot Analysis:

Vampirella: Armageddon #2 opens with Vampirella’s werewolf partner recounting the events that led to her disappearance. He explains to a group of skeptical individuals how Vampirella was blasted into a portal during a fight with a demon high priest, who was performing a ritual with missing immigrants. The werewolf claims he was knocked out by the blast and the priest escaped, leaving Vampirella trapped in another dimension. The group questions his involvement and loyalty, noting that he hasn’t been in touch with Vampirella for weeks, despite being her supposed partner.

Meanwhile, Vampirella awakens in the vast and merciless deserts of Hell. She is disoriented and injured, her skin being scoured by a sandstorm. She is discovered by a tribe of nomads, described as fierce survivors from various species driven to extinction in Hell. These nomads wander the desert, living off what the harsh environment provides.

Two specific tribesmen argue over who found and claimed Vampirella. One asserts his right to her as property for saving her from the desert’s hunger, while another boasts of snatching her from the “Ravenous Sands,” declaring her his own. Their leader intervenes, claiming Vampirella as his prize and challenging any who dispute his claim to a battle to the death.

The tribesman who initially claimed Vampirella rescinds his claim, deeming it a wise choice given the leader’s challenge. The leader then takes possession of Vampirella, expressing his intent to make her a servant and to “provide me with a brief but enjoyable repast from my insatiable lusts.” Vampirella reacts with fury, biting the leader and causing chaos among the tribesmen, who scream in pain and shock. She breaks free and attacks the others, asserting her defiance and strength.

The issue concludes with Vampirella leading her tribes through trials of survival, while her allies on Earth search for a way to bring her home.

Story

Tom Sniegoski effectively sets up the current predicament for Vampirella, detailing her arrival in Hell and the immediate dangers she faces. The dialogue is sharp, particularly the exchange between Vampirella’s partner and the suspicious bystanders, which creates immediate tension and mystery about Vampirella’s whereabouts. The internal monologue about the nomadic tribes and the brutal environment of Hell provides a strong sense of place and atmosphere. The story moves quickly from exposition to brutal action, showcasing Vampirella’s ferocity.

Art

Kewber Baal’s art, with Omi Remalante Jr.’s colors and Jeff Eckleberry’s letters, is intensely visceral. The depiction of Hell’s deserts is desolate and unforgiving, perfectly matching the narrative’s tone. The creature designs for the nomadic tribesmen are grotesque and varied, adding to the grim reality of the setting. The action sequences are dynamic and impactful, particularly Vampirella’s sudden and violent retaliation against the tribe leader. The panels are well laid out, guiding the eye smoothly through the chaos.

Characters

Vampirella is portrayed as a force of nature, even when disoriented and vulnerable. Her immediate response to being claimed as property is a testament to her fierce independence and power. Her werewolf partner provides a grounded perspective, clearly worried about her fate and attempting to explain the impossible to others. The nomadic tribesmen are depicted as ruthless and opportunistic, living by harsh rules of survival, and their leader quickly learns the consequences of underestimating Vampirella.

Positives

The comic truly shines in its uncompromising depiction of Hell as a truly desolate and dangerous place, setting a dire stage for Vampirella’s survival. The immediate and brutal confrontation she faces upon arrival establishes a high-stakes narrative without wasting a single panel. The artwork vividly brings this unforgiving landscape and its monstrous inhabitants to life, immersing the reader in Vampirella’s desperate struggle.

Negatives

The framing device of Vampirella’s partner recounting events feels a bit clunky and takes away from the immediate impact of Vampirella’s new predicament. The dialogue of the nomadic tribesmen, while functional, occasionally leans into generic villainous tropes. The swiftness with which Vampirella dispatches the tribal leader, while satisfying, resolves the immediate threat almost too quickly, potentially undermining the perceived danger of her surroundings.

Art Samples:

Final Thoughts:

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VAMPIRELLA: ARMAGEDDON #2 throws Vampirella into the fiery frying pan, and it’s a gloriously brutal ride. While the setup chat feels a little like an unnecessary detour, once Vampirella hits the desert, it’s pure, unadulterated chaos and exactly what you want from an Armageddon story. This series isn’t pulling any punches, and neither is its star.

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