Clown Fatale follows the misadventures of four curvaceous circus clowns. After the ladies are witnessed stomping the fun out of some rapey patrons, they are mistaken for another circus troupe who kill-for-hire on their off time. Each clown feels they have hit rock bottom, and they agree to the contract of kill the local cartel because according to them being a murderer is really only one step above being a circus clown anyways. What follows is a blood soaked version of The Man Who Knew Too Much with some heavy doses of Exploitation. Dinisio’s colors and Rosensweig’s artwork are sexy and explosive. Each character is well defined and never feel like a copy from the last caricature. Every violent collision is over the top and radically different from the last. For example, I couldn’t help but smile with delight watching Chloe light her last cigarette off the blazing hair of a screaming rodeo clown running by. Victor Gischler’s script remained straight as a bullet. He didn’t let exposition clutter up the messy fun. Instead, dubious backstories were only revealed enough to push the plot and characters forward, and they never felt contrived or clichéd. They were sensible reflections that help characterize why people are who they are. Also, because the characters never felt grandiose, it was much easier to relate to them and their motivations. One of the most surprising aspects of this comic was the female empowerment. The ladies start off being objectified, used and abused by the Man’s World. However, by the time the story boils over, not only have the clowns learn to defend themselves, but also the women were able to take control and make their own choices. It became quite poetic when Chloe gave one of the male aggressors a choice. He can rather shoot her with his last bullet but be burnt alive, or he can save himself from the pain and agony and take his own life. Honestly, when I picked this issue up, I Thought it would get lost and forgotten in the endless depths of cleavage just like Lady Death or Grimm Fairy Tales. Instead, it became Dark Horse’s They Call Her One Eye of 2013.