A grimy, war-torn scene split between two duelling pairs, a scarred, two-faced or twin-headed brute in heavy blue power armour on the left confronting a raised black weapon, while on the right a green-clad soldier and a red-costumed woman with cropped dark hair advance through rubble and fallen bodies. The colour palette is muddy and desaturated, greens, ochres and dull blues dominating, broken only by small flashes of red on the woman's outfit and streaks of blood across the foreground corpses, giving the whole image a grim, attritional feel rather than heroic spectacle. Debris, cracked concrete and slumped, defeated bodies litter the ground beneath the standing figures, reinforcing the sense that this fight is one stage in a longer, exhausting conflict rather than a single decisive clash. The armoured figure's face is especially unsettling, doubled or fused features giving him a monstrous, almost mutated appearance that marks him as something other than a straightforward human soldier. This kind of dense, murky war-comic imagery, characters and setting rendered with equal grime and detail so nothing reads as clean or victorious, reflects the harder-edged science-fiction and war strips that ran alongside Slaine in the pages of 2000 AD during Bisley's most prolific period there from the late 1980s onward. The title itself underscores the mood: this isn't a climax, just another round in a fight with no clear end in sight.
The fight continues
