What makes As Panteras Vol 27 different from mainstream Charlie’s Angels comics (like those published by Dynamite Entertainment) is its unapologetic Brazilianness. The villains are not generic mobsters — they represent real issues: real estate speculation, cultural appropriation of Carnival, and police negligence in peripheral communities.
Vanessa Rossi’s character designs incorporate carioca streetwear — havaianas, cropped tops with Brazilian flags, and sneakers suited for running through favela alleys. Fab Magalhães draws backgrounds that feel like City of God meets Black Widow — gritty, colorful, and dangerous.
Let’s be clear: This is not an official Sony Pictures or Charlie’s Angels licensed product. Magalhães and Rossi produce this as fair-use fan art — they do not sell it for significant profit, and they include disclaimers that the characters are parodies/inspired by the original concept. It exists in a legal gray area tolerated because of the small scale and the lack of official As Panteras comics in Brazil.
Some fans argue it falls under Brazil’s direito de citação (right to quote/criticize) for cultural reinterpretation — similar to “tropezo” fan edits or “herança cultural” arguments. What makes As Panteras Vol 27 different from
Spoiler warning for a fan comic — but one worth knowing.
The story opens at the Sambódromo do Anhembi. A mysterious fire destroys the barracão (float workshop) of the beloved Grêmio Recreativo Escola de Samba Favela do Samba. The police rule it an accident, but a mysterious patron hires the Panteras to investigate.
The trio:
The antagonists are a rival samba school backed by a corrupt construction magnate who wants to demolish the favela for a luxury condo. The “preferência nacional” is the emotional bond Brazilians have with their favorite samba school. Destroying that bond clears the way for real estate greed.
Key action sequences include a drone chase over Lapa’s arches, a fight inside a float shaped like a phoenix, and a tense negotiation during a Carnival rehearsal where the angels disguise themselves as passistas (skilled samba dancers).
The new edition (“new” in your keyword) adds 7 extra pages showing the aftermath — the angels sharing caipirinhas with the samba community, and a post-credits scene hinting at volume 28. Spoiler warning for a fan comic — but one worth knowing
To understand the significance of Vol. 27, one must understand the landscape of Brazilian adult cinema in the 2000s. The studio Brasileirinhas dominated the market, and their series As Panteras (The Panthers) was their flagship anthology.
Much like the Pornochanchada films of the 70s and 80s, the Panteras series relied on a formula that mixed low-budget comedy sketches with hardcore scenes. The title As Panteras was a direct homage to the classic TV show Charlie’s Angels, positioning the female performers as crime-fighting or espionage "agents," though the plots were largely vehicles for the adult content.
Preferência Nacional (National Preference) was a recurring theme for the studio. It was a declaration of pride in local talent. At a time when the market was flooded with American and European content, this title signaled to the consumer: "Here are the women of Brazil." The story opens at the Sambódromo do Anhembi