A tight, kinetic close-up built for speed rather than spectacle. A bare-shouldered blonde woman leans hard into a curved, scythe-like weapon or vehicle handle, her whole body coiled forward with gritted teeth and narrowed eyes, hair whipping backward in a wind of motion. Behind her a clawed, red-skinned hand or creature-limb lunges into frame, talons spread, matched by a spray of blood that arcs across the panel and a jagged WHOK! sound effect stamped into the composition like a punch. The colour scheme is stripped down and urgent - blacks, blood reds and pale flesh tones against a hazy backlit halo - which keeps the eye locked on the diagonal thrust of arms, weapon and hair rather than on background detail. There's no wasted space here: every line pushes the same direction, toward the point of impact just off the bottom edge of the frame. It's a good example of Bisley's gift for compressing an entire fight into a single decisive instant, favouring gesture and velocity over a fully rendered scene - the kind of pin-up-as-action-beat that made his painted covers instantly recognisable on the racks, whether they were wrapped around 2000 AD, Heavy Metal, or one of his creator-owned horror books. The title's blunt confidence matches the image precisely: there's no ambiguity about who is winning this exchange, only the sense of a blow about to land.
This blonde means business
