As the first arc approaches its close, it’s difficult to figure out what sort of comic Venom: Space Knight wants to be. Aspects of the comic are similar to “Conan the Barbarian”—a highly capable warrior travels throughout the land (in this case, the vaguely-defined “cosmos”) and becomes the subject of various nefarious plots or situations. Others are similar to recent Guardians of the Galaxy comics, injecting some Marvel Cinematic Universe-style humor into dialogue while attempting to draw in readers unfamiliar with many of these concepts. This disproportionate weight of story elements has caused a number of concerns to arise with this series, compounded by Ariel Olivetti’s uneven art. Robbie Thompson’s overall goal for this comic is becoming less clear, though the individual issues are somehow developing a routine. What is the goal for Venom: Space Knight?

Even at issue #4, I’ve begun to expect certain things from Venom: Space Knight—Flash learns something new about space before getting caught up in a standard sci-fi/sword and sorcery plot, and prevails before a larger threat is teased at the end of the issue. This a standard story progression often seen in most periodical media, of course, but the fourth outing in a row without significant changes feels tiresome, especially for a fledgling series like this.

As the last issue ended, Flash found that his symbiote was able to act (and speak) separate from its host. The shock of the symbiote’s reveal (and its obvious reasoning) is quelled immediately in this issue, as the majority of the issue concerns Flash’s confrontation with the space-panda, bounty hunter Pik Rollo. Pik is a panda, a warrior, and most importantly a mother, a set of dynamics considerably rare in Marvel comics (or any other comic, really), and she is coerced to face Flash due to her children’s captivity by Mercurio, Flash’s current nemesis. Flash and Pik’s battle is however interrupted, as they are captured by a robot and forced to fight in an arena.

The transition from Flash’s fight with Pik to their arena battle is about as natural and subtle as my description. Their abduction follows a very familiar trope, forcing Flash and Pik to fight together while developing a connection that will ultimately bring them closer together. This is the primary reason for most hero vs. hero fights—joining together to face a mutual foe and realizing their differences aren’t significant.

A vicious, maternal space panda is an interesting idea, and Pik’s ferocity in relation to Flash’s lackadaisical attitude could provide a nice dynamic going forward. However, their fledgling relationship is quickly overshadowed by Flash’s constant jokes and comments about Pik’s cuteness. Until this point, I felt as though Venom: Space Knight’s general separation from Guardians of the Galaxy, Star-Lord and Marvel’s other cosmic offerings, along with Robbie Thompson’s character-based script, gave the comic a much different voice than its ilk; the barrage of “cute” jokes in this issue changed my outlook substantially.

Flash’s attitude throughout the issue doesn’t make sense in relation to his previously established characteristics, even as far as he’s been developed in Robbie Thompson’s prior three issues. Furthermore, the jokes are shoehorned into every potentially meaningful conversation between the two. I can imagine Pik’s stoic attitude clashing with Flash in a significant manner, as both characters have enough tragedy in their backstories that it should be approached in their conversations. Robbie Thompson has impressed me with broaching the difficult subject of Flash’s alcoholism, and Pik’s motherhood (and captivity of her children) could be an interesting topic if the jokes are kept to a minimum—or at least a level that doesn’t actively interfere with storytelling.

There were a number of elements that this comic handled well. Ariel Olivetti’s characters are beautifully rendered as always. I have a suspicion that one of Robbie Thompson’s goals is to include as many alien species as possible in each issue—as in the arena battle shown here—in order for Olivetti’s designs to shine. I was also impressed by the combat, having evolved from the stiff chase in issue #1 to a legitimately enjoyable battle between dozens of aliens. Conversely, Olivetti’s backgrounds continue to lack definition, and on many occasions simply look like they are pasted from nature photographs. His highly detailed style might be difficult on a monthly schedule, but the concessions in background detail are painfully obvious; I would almost rather see a delay for more detail.

Robbie Thompson’s efforts to build a supporting cast are off to a good start. Between Flash’s new responsibilities and outlook, his more sentient symbiote, the suicidal robot 803, and now Pik Rollo (Space Panda), Venom: Space Knight has collected a strong crew of characters. More development on Mercurio would lead to an even stronger comic—an evil tyrant is a bit basic for a comic that has already broached many difficult subjects.

Venom: Space Knight is an entertaining read, highlighted by interesting characters and buffeted by inconsistent art and dialogue. The episodic nature of this arc may put off trade readers, but it works on a monthly basis and draws favorable, if unusual, comparisons to Conan the Barbarian. Robbie Thompson’s strengths as a writer play well to Flash Thompson and his growing crew, but a more prescient goal would give the series some much-needed direction as the universe-building could stand to take a break in favor of plot and character interaction.