Spawn: The Dark Ages issue #4 is published by Image Comics as part of the wider Spawn Universe created by Todd McFarlane. The series is written, inked and coloured by Liam Sharp.
The Recap: A Realm on the Brink
To understand where we are in issue #4, you have to remember the absolute mess Britain is in right now. We’re in that post-Roman vacuum where everything is falling apart. King Aurelianus—newly anointed and stressed out of his mind—is fighting a multi-front war. You’ve got Saxon barbarians hammering him from the East, the Pictish threat looming in the North, and Hibernian raiders coming in from the West.
But the real threat isn't the guys with the axes; it’s the rumor. People are whispering about a "more worthy king," someone anointed not by the church, but by the old Celtic gods. The Christians call him the Devil Spawn, but to the weary soldiers in the trenches, he’s starting to look like the only one who can actually get things done.
Issue #4 picks up in the aftermath of the treachery we saw in issue #3. Aurelianus is losing his grip, his villages are infested with plague, and the "Devil Spawn" finally makes a move that isn't just lurking in the shadows. He’s becoming a political reality, and the collision between "Divine Right" and "Hellish Might" is finally here.
The Story: Mythic Weight and Human Cruelty
What Liam Sharp is doing here with the narrative is honestly brilliant. In the previous two issues, some readers (myself included, if I’m being honest) felt the prose was getting a little "wordy"—almost like reading a translated epic poem. But in issue #4, the writing has found its rhythm. It’s leaner, meaner, and carries a mythic weight that doesn’t feel like homework.
The core of this issue explores the uglier corners of faith and survival. Sharp isn't interested in a "superhero in a suit" story. This is a dark fantasy about what happens when power is close enough to taste. We see Aurelianus descending into a state of paranoid survivalism, while the Spawn figure (our Medieval Hellspawn) acts more like a force of nature than a protagonist.
There’s a specific scene in this issue involving a parley between Aurelianus and a Saxon chieftain that is just... chef's kiss. The dialogue crackles with the realization that everyone is just one bad decision away from a massacre. It’s not "polite" drama; it snarls at you. The way Sharp weaves the historical flavor of Britain with the supernatural rot of the Spawn mythos makes the world feel incredibly lived-in. You can practically smell the woodsmoke and the copper of fresh blood.
The Pacing: The Stalk and the Strike
If issue #3 was a slow burn, issue #4 is the moment the fire catches the curtains. The pacing here is masterful. It doesn’t rush just to look busy; it builds. It stalks the reader through the first half of the book, layering on the dread panel by panel. You can feel the tension tightening like a bowstring.
And then, when the action bursts through, it lands with the force of a falling portcullis. Sharp knows exactly when to whisper and exactly when to swing the axe. There’s a balance here between character-driven political maneuvering and visceral, "Heavy Metal" style violence. By the time you reach the final third of the book, the momentum is unstoppable. It’s one of those issues where you find yourself holding your breath because the atmosphere is just that thick.
The Art: Liam Sharp Summons a Nightmare
Let’s talk about the real star of the show. I’ve said it before, and I’ll say it again: Liam Sharp is not just drawing these scenes; he is summoning them. The art in The Dark Ages #4 is a visceral experience. It’s soaked in mud, blood, and bad intentions. Sharp handles the pencils, inks, and colors (with some assists that keep the texture consistent), and that "one-two punch" gives the whole book a unified ferocity.
Everything has a "nasty" immersive texture. The chainmail looks heavy and cold; the faces carry years of accumulated pain; the shadows feel like they have a physical weight. When we finally see the "supernatural" elements, they aren't clean. They are gnarled, terrifying, and deeply rooted in Celtic folklore. It’s a far cry from the sleek, modern Spawn we see in the main title. The use of "torch-light" aesthetics is incredible. The way the light flickers off the armor in the darker sequences creates this sense of claustrophobia that fits the "Dark Ages" title perfectly.
There is a double-page spread in the middle of this issue—no spoilers, but it involves the "Devil Spawn" overlooking a battlefield—that is easily some of the best art released in 2026 so far. It’s the kind of panel you want to frame and hang in a dark library. The grittiness isn't just for show; it’s the heartbeat of the story.
The Final Verdict
Spawn: The Dark Ages #4 is a triumph. It’s a book that respects the history of the franchise while carving out a completely unique, grim-dark identity of its own. It’s not trying to be "cute" or accessible to everyone; it’s a love letter to dark fantasy, historical grit, and the kind of high-octane horror that made Image Comics a powerhouse in the first place.
If you haven't picked up this series yet, what are you doing? Spawn: The Dark Ages #4 is the turning point we’ve been waiting for. It’s harsh, it’s stylish, and it’s confidently mean in all the right ways. It won’t just entertain you; it’ll haunt you. This is the "Medieval Spawn" story we deserve, and I can't wait to see how Sharp brings this nightmare to its conclusion in the next two issues.