Kaput and Zosky are two aliens out to conquer every planet they run across. Zosky is the taller, blonde alien. He likes to infiltrate planets and negotiate surrenders. Kaput is the short red-head. He prefers to go in blasters blazing, shooting first before the planet can even consider surrendering. After all, what fun is it for a world conqueror when the planet surrenders without a shot being fired?

The problem is that no matter how many plans Zosky comes up with or how many blasters Kaput fires, they can never seem to hold on to their planet after they get it. They end up defeated every time.

That’s the basis for nearly every Kaput and Zosky story in this volume. They see a planet, dramatically chortle, “Behold, the planet Zaga-maximok! Ha ha ha! We’ll enslave their entire population!” land, and then are defeated by their own inability to understand what’s going on.

You’d think the joke would wear thin very quickly. And yet it doesn’t. Granted you don’t want to sit down and read the volume through at one sitting, but Lewis Trondheim and Eric Cartier provide enough variety on the theme to keep it from becoming boring. Three stories stand out in particular.

In one, they land on a planet of vampires. In another, Kaput bumps his head. His entire personality changes and he becomes a charming pacifist. In the third, they try something new: they run for president of the planet.

Obviously, there’s some satire going on here, which makes these stories suitable for adult reading. The best way I can describe this series is Marvin the Martian meets Dilbert. It has that kind of vibe.

Also appearing in this volume is “The Cosmonaut,” a series of one-page, silent, twelve- to sixteen-panel stories. Like Kaput and Zosky, this little space-suited man is continually encountering aliens and alien worlds. These pages remind me a bit of the original Pink Panther cartoons, as they have that same combination of slapstick and smartness.

At first glance, the art seems very simple, as if any kindergartener could do it. They couldn’t, obviously. However, at first glance, it does seem rather crude. The format is simply one rectangular panel after another, and the forms within each panel are very simple shapes--which is not to say they aren’t sophisticated. If you look longer, you’ll see how finely detailed the panels really are.

Kaput and Zosky would actually be a very good collection to use to introduce non-comic readers to the format. With its easy to follow lay-out and brightly colored panels, it has a non-threatening, welcoming look to it. But that does bring up a problem: just who is this collection intended for?

While the characters are apparently very popular in their native France--the indices indicate these stories are all adaptations or have been adapted for television--who is the English-language publisher, First Second, targeting with this compilation?

While adults who aren’t into super-heroes will probably enjoy it, if they enjoy humor strips at all, they might have a problem finding it. The library journal reviews I’ve seen suggest it be placed in the children’s section. The satiric material mentioned before, however, is going to go right over the heads of younger readers. And I’m not sure the art alone will hold their attention.

Some of the humor of the drawings depends on knowing what’s being said. It will be interesting to see which audience enjoys it more. However, if you enjoy comic strips with a bit of a bite or the classic cartoons that were written on several levels, you owe it to yourself to check this book out.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

The Scott Pilgrim series of books is one that I've heard many people rave about over the last couple of years but, until now, I've never got round to picking up a copy to check it out for myself. The first thing I noticed about the book was the format. As with the other volumes of the series, Scott Pilgrim's Precious Little Life is presented in a small, square-bound black-and-white digest-style book that seems designed to appeal to the manga crowd.

The art style reinforces this impression, with a wide-eyed squat-nosed cartoonishness to the character designs that reminds me of the typical visual stylings of manga. However, despite the manga stylings, the subject matter is resolutely Western--presenting a cast of characters and a story that will feel accessible and familiar for English-speaking young adult readers.

The book revolves around Scott Pilgrim, a man who is undergoing the transition between childhood and adulthood, and finds himself caught between childish pursuits and the more complex world of adult relationships. In many ways, the book reminded me a little of the TV show SPACED as it's peppered with plenty of pop culture references and goes off on frequent tangents (sometimes humourous, sometimes surreal), but ultimately remains grounded in a realistic world of fully-formed characters and true-to-life situations.

Scott plays in a rock band, shares a Toronto apartment with his dryly-witty roommate Wallace Wells, and finds himself torn between dating a 17-year-old high-schooler and pursuing a slightly older, more mature and experienced girl from New York. It's from this simple setup that the book's story flows, and whilst that might not sound like much of a basis for a 168-page graphic novel, Scott Pilgrim's Precious Little Life gets a lot of mileage out of its well-observed character interactions and humour.

Young adult readers will identify with many aspects of Scott's life. Judging by the pop-culture references, the book feels specifically geared towards readers in their early-to-mid-twenties--who will likely appreciate the specific references to certain videogames and movies, and will no doubt empathise with Scott's stumbling and incoherent attempts to impress women and manage his love life.

There's also a frank and honest approach to topics like sex and alcohol, which helps the book avoid feeling patronising. It never oversells these aspects or come off as self-conscious. Rather, it feels like a pretty accurate portrayal of the interests of modern-day “kidults.”

It's unusual to read a comic that has been produced by such a small group of people. Scott Pilgrim is essentially the work of one man, Bryan Lee O'Malley (the only other names listed in the book's credits are that of editor James Lucas Jones and co-designer Keith Wood). As such, there's a more unified creative vision here than most comics can boast, and it helps to give the book a distinctive voice and a consistent feel throughout.

The characters feel believable and genuine, and O'Malley manages to make all of them sympathetic, to an extent, without glossing over their flaws and foibles. There's a maturity to the characterisation and character relationships that's belied by the simplistic artwork and occasionally juvenile preoccupations--and it's difficult not to be won over by the book's overall warmth and charm.

However, if the book has one major flaw, it's the ending. I feel as though the climax of this first volume doesn't capitalise on the strong buildup of the rest of the story. It's as though O'Malley didn't really know how to end this first chapter, and decided to throw in an incongruous super-powered videogame-inspired fight scene in order to give the book a memorable and dazzling conclusion.

It doesn't sit well with the tone of the rest of the story as, despite some fairly surreal tangents, the rest of the book is always rooted in a tangible and grounded reality. The final scenes dispense with any pretense that the book takes place in a realistic world, and I feel as though it works to distance readers from the characters that they've been gradually getting to know over the course of the preceding pages.

The less realistic nature of the finale makes me unsure as to whether the future volumes of the book will continue in the same vein as the first or whether they'll be more surreal or fantastical in tone. As a result, I came away from the book feeling a little confused, and I didn't feel like my investment in the characters had been rewarded with an ending that was satisfying on an emotional level.

Despite this reaction, I'm still interested enough in the characters and their story that I'll probably check out the next volume. I just hope that O'Malley manages to keep the book's (admittedly enjoyable) fantastical diversions in perspective, and that he uses them as dressing for the more human elements of the book rather than the other way around.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

Editor's Note: Sky Doll #1 arrives in stores tomorrow, May 14.

For a comic that looks like a cheesecakey, sci-fi adventure romp, Sky Doll starts off quite interestingly, with the main character (Noa, a sentient sex robot) looking straight out at the reader and addressing God, informing him of his poor management skills and proposing the installation of a suggestion box. It's a cheeky way to kick things off, letting readers know that while there will be lots of sexy shenanigans and colorful visuals, there's also a theme of religion and control running through the story. Of course, the "god" that Noa was addressing turns out to be the reptilian manager of a heaven-themed spaceship wash that employs sexy girl-bots in order to draw in customers, so things shouldn't be taken too seriously.

But there's still some interesting stuff going on, from commentary on religion, to consumerism and advertising, to the meaning of love and sex in a world where sexual robots are acceptable, to the nature of the soul. You see, this spacefaring future society is ruled over by one Papess Lodovica, whose symbol (which appears to be a cross with breasts) is festooned all over the city and prompts adoring love from the masses, who eat up her "miraculous" appearances, even though they consist of special effects like blood spurting from fake stigmata and lasers that fry worshippers, supposedly sending them to heaven in a blaze of holy fire. We do get a bit of backstory, in which we learn that Lodovica once had a co-Papess named Agape, but a rift developed between them, with Lodovica seizing power and condemning all of Agape's followers.

But how does all this relate to Noa? Well, after stowing away on the ship of two Papal emissaries who are on some sort of church-related mission, she finds that she is somehow linked to Agape, and she might have a soul after all, even though she is just a machine. It's an interesting development in the story, and while this first issue seems to consist mostly of setup, I'm quite intrigued as to how it will all pay off.

A big part of the appeal of the book is the art, which takes a bit of a manga influence and slaps a whole lot of candy-colored detail on top of it. The pages are crammed with little bits of information, like towering architecture, neon billboards, spaceship design, weird creatures, and futuristic gadgetry. The character art is well-done too, with the dog-like inhabitants of the world exhibiting quite the range of expression. Noa, being the central character, benefits from the art, showing her perky, lively personality and demonstrating her forceful nature, refusing to be confined to the life a simple sex toy.

Her emissary companions are nicely-defined as well. The chubby goofball Jahu is the horny type, wanting to visit the spaceship wash just to eyeball some robot bosoms, while the more sedate Roy doesn't like to tempt himself. But Roy is the one that connects with Noa (and seems to be more aroused by her once they're actually making contact and not just looking at her through the windshield); he's more ready to believe in her individuality, while Jahu only sees her as a device for sexual pleasure. It should be interesting to see them continue to develop their relationship with her.

It's definitely an interesting book, and the art is absolutely incredible, full of astonishing detail, bright, shiny colors, and nice character work. Not to mention a good sense of humor, whether it's in slapstick comedy or a sly level of sexuality. The only thing that I don't especially like about the book are superficial, namely the price ($5.99 for 48 pages of story and an additional 16 pages of promotional material for the other Soleil books that Marvel is publishing) and the format (the "album-size" art has been shrunk down to fit into the standard U.S. comics pamphlet, leaving strips of white space at the top and bottom of each page). If you can overcome those factors, and you like a little bit of offensiveness mixed in with your social commentary, you should definitely check it out.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

Editor's Note: Guardians of the Galaxy #1 arrives in stores tomorrow, May 14.

"Somebody’s Got to Do It"

Steven Bari: 3 Bullets
Shawn Hill: 3 Bullets

---

Steven Bari 3 Bullets

"NNFFF…Form a Team, Protect the Universe. Gotta say, Pete Ol'Boy…" mutters Starlord a.k.a. Peter Jason Quill, as he hangs from a window on a giant starship heading toward an enormous spatial fissure, "…Not one of your best ideas."

The Guardians of Galaxy are back in town and they're here to make sure no evil villain or unruly symbiotic alien race launch another galactic sales event (Who's down for Annihilation: Conquest: The Search for Curly's Gold ?). Instead, this interesting consortium of cosmic characters is stopping plots before they're hatched, but they may need some time to get the hang of it.

Assembled in the aftermath of Annihilation: Conquest, Starlord leads Adam Warlock, Gamora, Quasar, Rocket Raccoon, and Drax on their first mission to a starship of the Universal Church of Truth (UCT), which is heading toward a fissure in space that could release a whole bunch of nasty things into the universe. The narrative is split between the present mission and the past. We see Adam Warlock choosing to join, seeing the team as a justification for his resurrection. There are other great character moments like Starlord and Rocket Raccoon getting get drunk at a bar, and Drax and Quasar finding resilience from Moondragon's death. These scenes help flesh out the team and give each member connection to the other, while pushing the action and story forward.

Pelletier's art dutifully mixes these moments with energetic action, but the most impressive shot is the bridge to the ship's control room. Adam, Gamora, and Drax run toward the control room as a horde of UCT fanatics start running towards them. The bridge where they meet is a grand structure that mixes cobblestone and futuristic design into architectural symmetry. The archway to the control room is vaulted above like a church organ, incorporating the cobblestone motif. The entirety is surrounded by hundreds of floating bodies in glowing vertical streams; they are devout members of the UCT whose faith powers the ship. The splash page is breathtaking at first, but rather unsettling once who you understand the context.

I really enjoyed this book. Although I have never read any of these characters in their previous incarnations, I was able to follow along and understand their history. I can't speak for fans of the old Guardians of the Galaxy series (which didn't have any of these characters and took place in the 31st Century), but for anybody looking for a fun space adventure, Guardians of the Galaxy #1 is a good place to start.

---

Shawn Hill 3 Bullets

Plot: It's the obligatory "gathering of the team" approach. But in space. After two annihilations. And not 1000 years in the future. But all those dimensional incursions still make the local reality pretty screwy out here on the Rip, the "outer edge of time-space." Lots of familiar faces are ready to spring into action in newly rehabilitated guises from page one.

Comments: The question is, are we ready to tag along? I didn't check in for much of Annihilation and know only that Annihilus and the Phalanx tried to invade our galaxy, and did wipe out the Nova Corps among others, and now our universe is unstable due to all the dimensional rifts involved in those events. Damn that Negative Zone!

This issue I learned that Moondragon has died (which wasn't the case in the last Annihilation-related issue I purchased), that Drax is smarter than he used to be (but no less bitter), that Phylla-Vell and Star-Lord and Rocket Raccoon and Warlock (who's alive again, and may or may not be from a different timeline) are all gung ho for more heroism, while Gamora is both surly and horny, and her latest squeeze Nova himself has other things to do. Still, it's most of the major players of the recent space opera events, now being invited, scene by scene, by Star-Lord to join his crazy new pro-active team of unofficial space cops.

The set-up is formulaic to the extreme, but not badly done. Still, the titular imperative of the story doesn't really come across, especially as they spend most of the issue not repairing reality warps, but fighting some space fundamentalists.

The battle is intercut with post-battle commentary (sporting event-style) from each participant, as well as flashbacks set in a planet-rich tapestry of sci-fi conventions. Those places are, if anything, overly familiar, if not bizarrely Earth-centric. Hala, the Kree capital world, has never seemed so human ("Hotel Supremor?"), Rocket Raccoon makes eBay jokes, and breeding seems to be on the minds of these mostly humanoid aliens, inter-species or not.

Dialogue based on character distinctions shows a positive development for Abnett/Lanning (given their more plot-driven Legion of Super-Heroes years), and the package is made quite visually appealing by Pelletier. The Universal Church of Truth ship is basically a Gothic cathedral on a space dock, and it's impossibly ornate and fantastic inside and out. Many of the heroes are energy-wielders, and they look great wielding their powers, while Gamora and Drax get a little less of a chance to flex their muscles in this outing.

Everybody else is really good with guns, and that's about the level on which this thing plays. That the two main guys, Star-Lord and Nova, are such average joes causes me to focus more on the regal and always bizarre Warlock, but there's potential here, and the action takes place amidst much pertinent (if not very colorful) dialogue. Pelletier goes for the drama in a mostly realistic style that fits in with the earlier crossovers, so Marvel seems to know the appeal of this segment of their universe.

But the quest and the setup and the goals are standard ones, and this series is going to need more of a fresh approach to distinguish itself, especially as it has abandoned almost everything about the original concept that goes with its borrowed title.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

Editor's Note: newuniversal: Shockfront #1 arrives in stores tomorrow, May 14.

"Tumble"

Thom Young: Three and a half bullets
Paul Brian McCoy: Three bullets (as a first issue); Four Bullets (as a seventh issue)


Thom Young: This was a difficult issue for me to assign a bullet ranking. If I rate it purely on its own merits, it deserves four bullets--possibly even four and a half. However, my biggest concern coming into this issue is that it wouldn’t pick up where the story left off in newuniverse #6 because it needed to be "new user friendly" as the first issue of a new series.

Unfortunately, it both does and doesn't pick up where the previous series left off--which would make me give it only three bullets.

Paul Brian McCoy: My initial reaction was that on its own, as a first issue to a new mini-series, this book would be three and a half if I was feeling generous, and the art didn't make me feel very generous. However, when read as a continuation of the issue that came before, my score goes up. I don't think this is being written for new readers at all, and if you haven't read the first series, then this might just be a confusing mess.

Thom Young: Oh, I agree. By "on its own" I didn't mean as the first issue of a new series. I meant as an issue that is neither new-user friendly nor connected to a previous story. It's definitely not a good entry point first issue for new readers, but it's also not exactly picking up where the former series left off.

What I mean by it being a four-bullet issue "on its own" is that it's very well-written and I enjoyed it a great deal more than I enjoy most comic books that are being produced nowadays. I even enjoyed Steve Kurth's illustrations more than I enjoy the work of most pencilers nowadays.

After a year layoff, and without re-reading the previous six issues, I was worried that I wouldn't be able to recall all that I needed to, but Ellis provides a three-page expository introduction of the seven key plotlines from the previous series and that jarred my memory enough to enjoy this issue.

Paul Brian McCoy: I didn't think the recap sections were very effective. I gave the book a couple of reads before going back and rereading the first six issues, and this works much better as an issue #7 than it does as a first issue.

There's not a lot to really grab a new reader and establish just what the hell is going on here. This was especially problematic for me because my memory isn't any good to begin with, so all I remembered from the first series were the broad strokes stuff that was mentioned in the recap. The real beauty of those first six issues was in the details that laid out an interesting and intriguing alternate reality.

But after rereading the first series and then picking up this issue again, it works much better. Maybe too much time has passed between then and now (both in-narrative and out) to make it a comfortable transition, but reading the first series is pretty much required.

Thom Young: Yeah, it is. Yet it doesn't exactly pick up where the previous issue left off, and that bothered me more than having to have read the previous issues bothered me (since I had read those issues, and could sort of recall what was in them).

According to the timestamp on page five ("March 16, 2006"), exactly two weeks have passed since the White Event occurred on March 2, 2006--and that means it's been about 13 days since the end of newuniversal #6 (which ended with the words "To Be Continued"). Ellis stopped using timestamps in the first series after the third issue (at which point about 17 hours had passed since the White Event), but it looks like the entire previous six-issue series occurred in no more than 24 hours.

So we're picking up the story 13 days from where we left it a year ago--and that's not too bad. However, considering the events in the initial six issues happened in about 24 hours, I almost feel as if I've missed 78 issues.

Not really, but I am a bit disappointed that we weren't shown some of what transpired during those missing 13 days--such as Phil Voight and Dr. Swann's interactions at Project Spitfire at Fort Meade, Maryland. Perhaps we'll get caught up with all of those events either in flashback or expository dialog.

Paul Brian McCoy: Those missing elements are really the main reasons my score isn't higher for this issue. There are three pages of story lost because of the recap pages, then we open with a full page from a Chinese comic that the character Izinami Randall is reading, followed by a page and a half discussion of fanboy behavior and comic shop traffic. That's almost a quarter of the book spent already and nothing has happened yet.

Again, the character work done here is effective if the reader is coming in from the previous series, but otherwise this stuff comes completely out of the blue. I mean, I love the conversation Izinami has with her boss, but I'm not sure it's really beneficial in the context of a first issue narrative. I suppose it does provide some emotional grounding for what comes later, but I'm not even sure why it had to play like it does.

Plus there's no indication of why this is a manhua shop instead of a typical American comics shop or what the cultural significance this is to Ellis' fictional world. If a reader hadn't read the previous series and wasn't familiar with the socio-political landscape that Ellis had established there, this all may just seem odd and confusing.

Four and a half pages is a lot of room to touch on another previous storyline or two.

Thom Young: I particularly enjoy scenes like that one. They create a sense of verisimilitude for me that not only grounds the emotional content that comes later but those types of scenes ground the entire fantasy world of superheroes for me in a world that becomes identifiable for me in some small ways.

In a way, it's the last vestige of what Jim Shooter had in mind when he originally came up with the New Universe concept 20 years ago. It was supposed to be "the world outside your window"--a universe of interconnected titles that would create a deeper sense of verisimilitude than most superhero comics.

Twenty years ago, it seemed that such an approach was the future of comics--taking the next step from the Silver Age stories of Jack Kirby, Steve Ditko, and Stan Lee in which the heroes had "identifiable problems" up to the "real world perspectives" of Alan Moore and Dave Gibbons' Watchmen and Alex Ross and Kurt Busiek's Marvels.

Warren Ellis has mostly gone to great lengths to show us that his New Universe is not "the world outside your window," but with scenes like the one you mentioned he's at least letting us know that the people populating this New Universe have the same emotional worlds inside ourselves.

Paul Brian McCoy: It just seems like a new reader isn't going to be invested enough in this world to wade through all the Asian names and characters being discussed right out of the gate. Especially if one doesn't already know that China is the dominant political and cultural super power in this world.

It's clearly an echo of the use of pirate comics in Watchmen to reflect the in-narrative pop cultural preoccupations, and it helps to provide texture to the world Ellis has created. Eh, I’m probably just over-thinking this anyway. I liked it. New readers might not.

Thom Young: Yeah, the idea of there being manhua stores rather than comic book stores was interesting--and it definitely relates back to the first issue of the previous series where it was disclosed that bars in rural Oklahoma serve Tsingtao beer and that the Chinese have multiple bases on the moon. I suppose we'll see more of China's position as the top political superpower as the series progresses.

I was also wondering, though, if Ellis wasn't having some fun with a possible pun in which manhua, the Chinese word for comics, sounds like manure. Because, of course, everything else in that scene is typical of American comic book culture--as in Tuesday being a slow day because the fanboys only come in on Wednesday to get their manhua (manure).

Paul Brian McCoy: I wouldn't put it past Ellis. However, it's apparently just the luck of the pronunciation. According to Internet wizardry, manhua (the Chinese word originally borrowed from the Japanese manga and referring to all comics) became associated particularly with Chinese comics as early as 1925.

And, in a neat bit of trivia, the Chinese characters for manhua are identical for those used in Japanese manga, Korean manhwa, and Vietnamese manhoa.

Thom Young: Yeah, they're obviously all etymologically related, but I just thought Ellis decided to have some punning fun with the word in relation to American comics--especially with the couple of references the manager of the store makes to "crap."

Anyway, when I reviewed the sixth issue of newuniversal (which I had no idea was to be the last issue for a year), I wrote, "What became painfully obvious to me as I read this latest chapter is that the story really needs to be read in one collected graphic novel."

Of course, Marvel then collected those six issues into a "graphic novel" even though the story wasn't completed and the sixth chapter ended with "To Be Continued."

I'm now inclined to wait out the entirety of this current series until it, too, is collected in a paperback edition. It should not only be cheaper (and I am a damn cheap jackass, as you know), but it should also be easier to follow the social, political, and personal aspects of the story.

Paul Brian McCoy: Without a doubt it'll read better collected, especially when read with the first series. Part of me kind of wishes that they had just released the whole thing at once, like The League of Extraordinary Gentlemen: The Black Dossier (although, to be fair, that was a stand-alone story, whereas this seems to be plotted as an ongoing series of minis), since there are so many storylines (two new characters are revealed this issue, making a grand total of nine narrative threads) and so little space to give them the attention they deserve.

Thom Young: If I remember correctly, the original series was planned as an ongoing monthly, and I would now recant my statement in my review of the sixth issue had Ellis, Larroca, and Marvel been able to produce it on a monthly basis. In a literary world of greater verisimilitude, six or seven separate plotlines should not be expected to all conclude around the same time unless they eventually all intertwine (which, of course, they might).

It's much more realistic, though, to think of plotlines that don't directly intertwine. Instead, if Ellis had planned for them to indirectly intertwine over the course of several dozen issues--much like the structure of a TV soap opera. In retrospect, the soap opera structure of plotlines coming together both directly and indirectly would have been the hook for me to keep buying each issue as it was published.

Now, if the new approach is to wrap up all plotlines in six-issue increments, then I'm much more inclined to just wait for the collected edition.

Paul Brian McCoy: I haven't been able to find any interviews about this new project online, so it's hard to tell what the game plan is going to be here. I hope Ellis plans to continue with the characters, even if it is as consecutive minis I know there's a one-shot planned for July (newuniversal: 1959), and it's being written by Kieron Gillon (hand-picked by Ellis, the ads say). I suppose that's one way to keep building and fleshing out this world.

But I really want to know what happened with Dr. Proudhawk more than any other character--which again reinforces for me how much stronger this issue is when read as issue #7. The timing of this issue's new character revelations builds on the introduction of Proudhawk near the end of the previous series.

Without that bit of previous knowledge about the story (that there are other people whose powers are awakening, even though they may not seem to be connected to the White Event), the new characters just seem to be random appearances (accompanied by horrific gore) with no context from which to draw meaning.

Thom Young: I don't even remember Proudhawk in either this issue or the previous, so I'm obviously going to have to re-read all seven issues when I get the time.

Paul Brian McCoy: Well, he's not even referenced in a single panel in this issue. However, his vision quest and the discovery of his role in what's coming were my favorite parts of the first six issues. That was in issue five, by the way.

Thom Young: I guess I don't recall the plotlines from a year ago as much as I thought I did. I'm going to have to add the entire run to my ever-growing stack of stuff I have to get around to reading. I won't mind, though, because I love the writing on this series. It outshines every other series that I'm reading with the exception of All-Star Superman.

Paul Brian McCoy Ellis' Thunderbolts shines like that for me. I'm sad that he's wrapping up on that one. Twelve issues just wasn't enough for me.

Thom Young: That's a series I should have tried, and will probably buy in the collected paperback. I know you indicated earlier that you didn't like the illustrations, but I should point out that I like Steve Kurth's pencils on this issue more than I liked Salvador Larroca's on the six issues of the previous series.

Paul Brian McCoy: I really don't care for the art at all, which may be making me more cranky about the pacing than I normally would be. I've never seen Kurth's work before, and after a quick Internet search, I see he's done G.I. Joe, Ghostbusters, Dragonlance titles and, most recently, Marvel's adaptation of Last of the Mohicans. Well, there's nothing in this book that makes me want to see any of his other work. It's just ugly.

Actually, I take that back. He does a good job with exploding bodies. The gore is realistic and graphic, which is something I like when it's in service to a good story. And it is in service to a good story here, regardless of my bitching and nitpicking.

But the rest of the book looks pretty bad to me. This could just be a combination of his pencils with Andrew Hennessy's inks, but generally, the people really don't look quite right. Faces often seem twisted or squeezed into unnatural positions and the use of heavy shadows and swaths of black tends to add to the ugliness rather than create mood or drama. There's just no reason to have the shadows as heavy as they are when a more subtle shade of color would work much better.

Colorist Chris Chuckry does the best he can to create depth and texture, but he can only do so much. This might have worked better as color art over unfinished pencils, although that wouldn't change the basic ugliness of the characters. Regardless, I found it to be a dramatic step down in art quality from the first series (even though I usually didn't care for Larroca's photo-referencing choices).

Thom Young: Fair enough. We disagree about something else besides gun control and which bands were the progenitors of heavy metal. I found Kurth's pencils to create even more of a sense of verisimilitude for me than Larroca's did (though I didn't realize this until I started looking through the previous series in preparation for this review).

I also like Kurth's work more than I do many other illustrators working for either DC and Marvel nowadays--but that's sort of faint praise as far as I'm concerned, since I find a lot of comic book illustrations nowadays are being produced by pencilers who have little understanding of how their panels should complement the story by moving the action flowingly from panel to panel, and then when to cause the flow of the action to stop when the story requires it. I didn't find any of those types of problems with either Larroca's or Kurth's, but I did find Kurth's figures to be more natural.

What I particularly liked about this issue, though, is related to something I noted in my review of the previous issue where I mentioned that it seemed that Ellis had introduced General Thunderbolt Ross into the story--again indicating that this New Universe is not "the world outside your window" but is actually a parallel Marvel Universe in which none of the inhabitants of the regular MU (whatever it's numerical designation is) had achieved super powers.

Paul Brian McCoy: I agree. That was a very nice touch. I also love how this is just a given here, whereas other companies might use this detail as the cornerstone for a company-wide epic event.

Thom Young: Yeah, in Ellis's New Universe, I'm sure Peter Parker exists but will never be bitten by a radioactive spider. Instead, he's probably a geekish high school student in Queens getting picked on by Flash Thompson. My suspicions are born out in this current issue in which we see Captain George Stacey (Gwen's father) briefing a room of detectives about the "Justice Killer," Det. John Tensen.

Capt. Stacey's first team of detectives who will be coordinating the case are:

• Jean DeWolff (presumably not a captain here as she was in the Spider-Man comics of the 1970s and 1980s),
• Det. Flint (who dates back in the Marvel Universe at least as far as Moon Knight volume one #12 in 1981),
• Misty Knight (who was an NYPD police officer before being injured in the line of duty and getting a bionic arm in the Iron Fist story in Marvel Premiere #20 in 1975--presumably the New Universe version never received a bionic arm and she made detective), and
• Det. Nick Manolis (who was a corrupt cop in Frank Miller's 1981 Daredevil stories, but seems to have avoided being murdered in the New Universe.

Even though I'm more in tune with DC Universe history than I am Marvel history, I really enjoyed these appearances and the idea that Ellis is giving us an alternate version of Marvel's 1970s universe set in 2006.

Paul Brian McCoy: I'm glad you detailed all that, since my faulty memory only recognized Stacey, DeWolff, and Knight. For what it's worth, this makes Ellis' second alternate version of Misty Knight.

All in all, I'm a little disappointed with this as a first issue. It moves a little too casually for a first issue, and I thought too much space was given over to recap with not enough new information included. It does get stronger as it goes along, though, but then we run out of pages, just as it's getting interesting. The pacing works better if this issue is read in succession with the previous six.

In fact, I'm amazed at the difference rereading the first six issues made to my enjoyment of this comic. And luckily for the readers out there, both a trade and/or a premiere hardback collection is readily available. Hell, instead of digging through the piles of back issues in my closet, I just ordered the hardback cheap from Amazon on Thursday morning and had it Friday afternoon (with no shipping charge and the regular discount, the hardback was just over 13 bucks--you can't beat that).

Thom Young: No, you can't. I'm half inclined to sell my six issues on eBay for a fourth of what I paid for them and then just buy the trade paperbacks from Amazon. The only downside to that is that I wouldn't be able to enjoy Ellis's writing as soon as it's originally published, but it would probably be worth it both financially and in being able to follow the story more closely.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

Editor's Note: Secret Invasion: Fantastic Four #1 arrives in stores tomorrow, May 14.

"No-one gets back alive! Part 1: Negative Energy"

The first chapter of this crossover-tie-in miniseries recaps the events of Secret Invasion #1, plunging the Baxter building into the negative zone portal as the Skrull infiltration threatens the Marvel Universe's first family, before showing us what happened to its occupants when it appeared on the other side.

After reading the first issue of the core Secret Invasion title, I didn't have particularly high hopes for this tie-in book. The appearance of the FF in that issue served to shuffle the team off to the sidelines, trapping them in the Negative Zone and suggesting that they didn't really have a place in Brian Bendis' larger plans for Secret Invasion, regardless of their long history with the Skrulls. Despite that, the existence of this book suggests that somebody thought that there was a Fantastic Four story worth telling amidst the chaos of the Skrull invasion--but after reading this first issue, I'm not really convinced that there is.

One of the most appealing elements of the Fantastic Four is the family dynamic of the team, but the constraints of Secret Invasion's larger story prevent Aguirre-Sacasa from really exploring that dynamic. With the events of Secret Invasion #1 already having taken Reed and Sue Richards out of commission, the writer is left with only Johnny Storm and Ben Grimm to play with, and whilst he's able to have some fun with both characters, it's not really enough to sustain an entire story. The Thing is tasked with protecting Franklin and Valeria, and Johnny is left to deal with the Skrull impostor who impersonated Sue in order to sabotage the Baxter Building in the first place. Whilst there is a small amount of action and a reasonable dramatic premise, it all feels a bit pedestrian and a little too straightforward and predictable to be a really compelling story.

It's a particular shame that Roberto Aguirre-Sacasa doesn't have the whole FF family to play with here, because I was quite a fan of the writer's Marvel Knights Fantastic Four title from a few years ago, which managed to focus on the more grounded and human aspects of the characters without losing the appeal of their fantastical lifestyle. Unfortunately, the story concept here is just too restrictive to allow for that kind of focus on the characters, and it feels like the writer can't exploit one of his greatest strengths as a result. That said, the final-page reveal adds a slightly more personal element to the story, giving the FF's battle against their Skrull adversary a more emotional dimension than a simple battle against an army of generic Skrull soldiers would provide. However, I feel as though it's a development which will only really mean anything to longtime readers who are familiar with FF history, rather than the casual Secret Invasion reader who seems like the most likely audience for this book.

Barry Kitson's artwork is more than serviceable here, presenting a take on the FF that's in keeping with their subtle redesign in the pages of the ongoing Fantastic Four title without losing the classic feel of the characters. I was a fan of Kitson's work on The Order recently, and he brings the same aptitude for facial expressions and body language that he showed in that title to the pages of this book. Unfortunately, it's not quite enough to redeem a story that doesn't really get going until the second half of the issue, and that doesn't manage to make much of an impression even then.

This book feels like a fairly inconsequential tie-in to Secret Invasion, albeit one that will probably keep Fantastic Four fans happy enough. You can't blame Marvel for trying, and it's far from being an offensively bad comic--but neither is it a particularly good one. It's difficult to escape the feeling that this is a title that has been created for the sake of having a Secret Invasion/FF tie-in, rather than because anyone had a particularly good story to tell, and I doubt that I'll be interested enough to pick up the next issue.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

Editor's Note: X-Men #211 arrives in stores tomorrow, May 14.

Awwww… I was hoping the Juggernaut was going to wreck stuff. Even if that wasn't the case, there is promise of future smashing which excites me, and a solid entry by Mike Carey to add to the depth and character of Charles Xavier.

Let's face it, after 40 years it would seem to be an impossible task to add anything new to the character of Charles Xavier, but Mike Carey and the art team are delivering some great stories exploring the broken spirit of the once leader of the X-Men. His dream has died, he has nothing really left, and he is on a quest to remember more about who he was and how he came to be who he is now. I really like this exploration, and I think it is the only way that one can rejuvenate a character: have that character re-evaluate and grow beyond what he/she was previously.

Much of the issue is committed to reviewing previous events in the life of Xavier including those revolving around his twin, the long forgotten Brood episode, Proteus and, of course, arguably Xavier’s greatest failure: the Phoenix. The review of events seems to point to Charles missing obvious signs of his own failings, not noticing the subtle signs of cracks in the façade of his control. It also exposes the dramatic flaw of Charles: he always has to be in control.

The events surrounding Charles' childhood, and his former friend Carter Ryking (Hazard) are muddled at best. Carey does an excellent job of weaving a mystery about what experiments were being conducted on Xavier and Ryking by a scientist working with Xavier's father Brian. I will dodge too many spoilers, but these tests fit a long pattern of another X-villain, and his appearance in Ryking's life finally answers the question about what the link is between Hazard and the character that appears at the end of the book at Xavier’s door. I cannot wait until the next issue to see if Carey exposes what Hazard was working on with Fontanelle (that should be enough hints for long time fans to piece together who I am talking about). I must give props to Carey for weaving recent and ancient history together into an interesting tale.

Carey is also playing with the audience a little bit, with covert ops teams hunting Xavier. They know who he is, and they know his powers, and they are out to kill him. In this issue we get no clues as to why they are doing this, but by the setting and the way it is presented (the idea of a mindscape that Xavier monitors) creates an overwhelming sense of dread. Carey has Xavier cleverly use his powers to interact with his environment. Finally, we have a writer who remembers that Xavier is powerful, very powerful, and can actually do things without Cerebro/Cerebra.

The second story line in the book, about the Hellfire club, is less engaging. For some reason, the panels fell a little flat. I love the Hellfire club, and Sebastian Shaw is one of my favourite X-villains; however, he just doesn't carry the menace I expect. The Hellfire club felt more like I was watching the British parliament than a true secret society.

Now for the question you have all been asking: what about Juggernaut? Well he gets one page, with the promise of more. He is clearly back in the thrall of Cytorrak after the events in World War Hulk. Unfortunately, he doesn't seem like the tortured soul I was expecting, doing compelled evil. Instead, he seems to have completely reverted to his "my rotten half-brother" routine. Please Mr. Carey, Juggernaut has grown a lot, and while I want him smashing stuff, do not toss away all of the interesting things that have been done with the character's personality.

The art is beautifully rendered, with the first page with Juggernaut being fantastically coloured. Shadowed crimson just popped against the stark background. The pencils on Cain Marko were outstanding. I also have to say that Eaton produced the single most gorgeous panel of Jean Grey I have seen in years; the detail on her hair alone after she gets into the Phoenix costume is gorgeously rendered. Kudos have to go to the inkers and colourist as well for the memory montages: they could have been very muddled, but instead they are clear and distinctive.

I must admit, I did not expect to write this glowing a review. When I finished the book, I considered it to be average. After analyzing a number of aspects though, I have to say that it is far above a lot of the recent material I have read out of the Big Two in the last year. Solid story, interesting plot developments, great art, it is hard to ask for more out of a comic book. Between Mike Carey and Ed Brubaker the X-Men stable of books is in great hands right now.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

Editor's Note: Thunderbolts #120 arrives in stores tomorrow, May 14.

"Caged Angels: Part V"

This is going to be short, but sweet.

Warren Ellis' penultimate issue of Thunderbolts is his best yet. There is not another book on the stands that is as good as this. Period. Deodato's art is perfect. The Green Goblin has never been scary to me, but in this issue, he's a freaking nightmare come to life. And there are at least two full page splashes that are as disturbing, frightening, sexy, and beautiful as anything you're going to find in comics.

The two artists work together with a spot-on rhythm and cinematic pacing. Just look at the preview pages, where we follow a psychically pushed past the tipping point Norman Osborn as he literally descends into full-on psychosis. None of the dialogue is plot driven. It all is being used to reveal character, from free-associations about historic moments in comics (and their retcons), to delusional power fantasies. All this while the panel layouts, the angles, and the effective use of heavy, dramatic shadowing build the tension and work thematically, and look great doing it.

Ellis may be one of the best writers in comics today when it comes to scripting and plotting out a character's transition into costume. And Deodato's images capture perfectly the particular brand of crazy that Osborn is ranting. Just look at that naked stance as he declares, "So says President Goblin!" He's a hero in his own mind.

Mr. Ellis and Mr. Deodato should be chained to chairs and made to create this comic until they are slobbering, gibbering messes. Providing they aren't already.

No other comic on the shelves makes me as gloriously, derangedly happy as this title, and this is the best issue yet. Or did I say that already? Whatever.

If you're not reading this, you are truly missing out on some of the most gleefully evil and entertaining work out there. The only thing that would make this better would be if the characters could swear. It's that kind of great.

I'm going to miss this when it's over.

What's that? The series isn't ending when Ellis and Deodato leave?

Yes it is.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

Editor's Note: Captain Britain and MI:13 #1 arrives in stores tomorrow, May 14.

"The Guns of Avalon: Part One"

I never expected to be actively picking up a Captain Britain book, let alone be looking forward to one as much as I've been looking forward to Captain Britain and MI:13. Despite being British myself, I've never held any particular affection for the character, even as Avalon's answer to Captain America. In fact, I've never even read a Captain Britain book before--not even the much-lauded issues by Alan Moore and Alan Davis (although I'm sure I'll get round to them at some point). What I have read, however, is the six-issue Wisdom miniseries that Marvel published last year by British writer Paul Cornell (of Dr. Who fame), which took former X-Man Pete Wisdom and threw him into a series of fantastical adventures with the paranormal British Intelligence division of MI:13. My eager anticipation for this issue can be traced to the good work that Cornell accomplished in the pages of that book, and I was keen to see whether he could pull off the transition to a more mainstream superhero title with stronger connections to the modern Marvel Universe.

Thankfully, Captain Britain and MI:13 #1 doesn't disappoint.

Kicking off with a pre-credits sequence involving Wisdom's John The Skrull and a high-ranking government official who is revealed as a Skrull impostor, the book firmly establishes itself as a continuation of Cornell's previous series, but one that is also an integral part of the present-day Marvel Universe. This year's Secret Invasion crossover allows the title to make use of the Skrull threat as an exciting, action-packed backdrop, but thankfully Captain Britain and MI:13 has loftier aspirations than just being a spinoff book for a larger event. Cornell uses this first issue to introduce several subplots and an interesting character dynamic that promise to give the book a life far beyond Secret Invasion, and I'm keen to see what kinds of challenges the writer cooks up for his team once the Skrull threat has passed.

Despite the difference in scale and scope between this book and Wisdom, Cornell shows that he hasn't let himself get carried away by the opportunity to play around with a greater number of pre-existing characters and concepts than he used in that title. In fact, this issue seems even more character-centric than Wisdom was, allowing readers to fully invest in the cast before sweeping them up in a grand adventure that builds towards a cliffhanger climax--all in the space of just one issue.

Readers who haven't read Wisdom won't feel left behind, as this first issue allows us to spend a lot of time acquainting ourselves with the book's key players. We meet both Pete Wisdom (who seems slightly less abrasive and cynical than before, and appears to be experiencing strange supernatural "visions") and Captain Britain (who is presented as just as iconic and reliable as his American cousin), two characters that work well together and share the spotlight comfortably, without feeling as though they're competing for attention. I was pleased to see Cornell eschew the easy option of creating a forced rivalry and false drama between the two characters, opting instead to imbue them with a sense of mutual respect and comradeship that makes their rapport feel far more natural and believable.

More minor characters also get their own chances to shine, albeit briefly: the Black Knight, Spitfire and John the Skrull all get a comparatively small amount of page-time, but Cornell still manages to establish them quickly and efficiently. As a writer who also does a lot of work in television, he seems to have a particularly strong grasp of the maxim "show, don't tell," with Spitfire's introduction to the book a perfect example of how to condense a lot of information about a character into a small space.

Finally, we meet the much-talked-about Faiza Hussain, a new character that Cornell has talked about as being our "gateway" character for the series. We only get a quick glimpse of her here, but she already feels well-rounded and interesting (I enjoyed her acknowledgement that she's a complete superhero fangirl), laying to rest any fears that she could be a one-note cliché character who has been introduced solely to crowbar a British Muslim point of view into the story. At this point, she reminds me slightly of Dr. Who's Martha Jones due to her medical background, but I'm sure that Cornell will do more to distinguish her personality in the next few issues.

My only real complaint is that Wisdom's Captain Midlands doesn't make an appearance, but there's still plenty of time for that yet.

The book's artwork is provided by Leonard Kirk. I know Kirk from his work on the much-loved Agents of Atlas series, and if anything, his work seems even better here. There's a cleanness and consistency to the visuals that makes the story easy to follow (even during the more crowded scenes), and the artist seems to be having fun with the concepts he's playing with, such as the weird and wonderful combinations of Marvel-Universe powers and physical attributes that are displayed by the numerous Super-Skrulls that populate the issue. There are some fun touches of background detail (I loved the scared reaction of the Super-Skrull to Spitfire's attack), and Kirk also shows a real knack for dramatic visuals--especially during the powerful closing pages of the issue. He even manages to avoid making the Captain Britain costume look silly, which itself is no mean feat. Jesse Delperdang's tight, delicate and detailed inking is just as good here as it has been in the pages of Batman recently, really enhancing the overall package. Finally, Bryan Hitch's cover rounds things off beautifully, creating an iconic, poster-worthy image of Captain Britain that sells the book well.

Many readers may be buying this book due to its ties to Marvel's big crossover event. However, whilst this first issue certainly plays up to some of the themes of Secret Invasion (there's more than one reference to the idea that the superheroes are "playing characters," and there's some subtle allegory for real-world events in the "War on Terror"), it's worth buying for many more reasons than that. Cornell's enjoyable and individual sense of humour has survived the transition from Wisdom wholly intact (what other Marvel title will give you references to Norman Wisdom, Abba and Frankie Goes To Hollywood?), the characters are distinctive and original, there's plenty of drama and large-scale action, and it's great to see a book take such pride in its sheer Britishness ("They want summat we've got." "What Britain has more of than anything else - magic!"). I get the sense that this book isn't going to be ashamed to be a fun, fast-paced and reasonably traditional superhero comic, with as many concessions to the conventions of the genre as there are attempts to do things differently. I haven't read a stronger first issue than this in a long time, and I can't wait for the next.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

Editor's Note: X-Men Origin: Colossus arrives in stores tomorrow, May 14.

Plot: The defining moments for Russia's metal mutant.

Comments: Having an "Origin" story for a mutant doesn't make much sense. The mutants in the Marvel universe are, of course, born that way. There is no radioactive spider or super soldier serum to kick things off. Piotr Rasputin was just born with special powers which emerged in his teen years. Not to say there isn't a story to be found in a mutant's early years; there are plenty of plots to explore and an "Origin" story allows a deeper look into the background of a character. But what defines a mutant origin story? The first time his powers activate? When the mutant in question joins the X-Men? Unlike Peter Parker or Tony Stark, there is no particular moment in time when a mutant becomes a mutant. So it has to be something more character driven. Sure, character informs all hero origins, but character development is all a mutant has, a collection of "Defining Moments." So an origin story can have all the significant events that kick start an X-Man's career (meeting Xavier, the first meeting with an arch enemy) but for a true origin you need only one thing: motive. A mutant has no choice about being a mutant, but a person does have a choice in what to do with the gift(s) he is given, and those defining moments shape that choice. Chris Yost understands this with a writer's gift. X-Men Origin: Colossus gives us the defining moments that turned Peter Rasputin into Colossus. That is how Yost makes sense of an "origin" story for a mutant.

Origin wastes no time in laying the groundwork for the man who will become Colossus. Peter had an older brother who was a cosmonaut. In the first page of the book Mikhail promises to watch over Peter, always, no matter what. It's a defining moment for Peter in many ways. Of course, when Mikhail tells Peter to "Look to the stars and know that I'm looking back," we know exactly what fate is in store for Peter's older brother. When Peter learns of his brother's death, it triggers his mutant power, another defining moment. This moment also drives the plot forward. Mikhail's best friend, Alexander, was the only witness to Peter's transformation, but the "powers that be" have their radar up. It's the cold war, and mother Russia wants some mutants of their own. Peter is watched.

The next big moment for Peter is the birth of his sister Illyana. He makes the same promise to "watch over her no matter what" that his brother made to him. The echo in sentiment shows just how much Peter worshipped his older brother and how Peter views the same role. We as readers know to what lengths Peter will have to go to keep that promise, but it's a touching human moment and our foreknowledge only makes it more bittersweet. As the years go by, Peter learns of the X-Men's battle with Magneto (A front page picture from the New York Times that looks very familiar. Why wasn't it the Daily Bugle though?). Because of the world's reaction he keeps his ability a secret. Eventually, the wrong people do find out, though, and they come for Peter with helicopters and guns. Another defining moment: Peter steps up to protect his family and those copters and guns find themselves on the wrong side of an angry organic metal mutant.

The next defining moment is meeting Xavier and making the choice to join the X-Men. Peter understands that Xavier's dream is the best hope for his family and especially his sister to have a peaceful future. He leaves Illyana, restating his promise to always watch over her. This time that statement is not only as a loving brother but as someone who has just made a defining choice. It's hard to get around the knowledge of what fate has in store for Illyana and the tone leaps over bittersweet straight to sadness. The last page is a beauty shot of Xavier's new team and Peter taking his place among them.

The art for the book complements the level of quality in the writing. Trevor Hairsine hits all the right visual notes in the emotional development of Colossus. Each defining moment punctuated with a beautiful splash page. Peter's transformation becomes a strong counterpoint to the bleak snowy landscape of Siberia. The coloring has a naturalistic approach (once again, Siberia) with cold blues and similar chilly tones. The exception are the moments of violence near the end of the story; bright red backgrounds snap you out of the chill of the mundane. Illyana, the other exception, has dresses that step out of the earth tones of the rest of the characters, but that’s because she is the real color in Peter's life.

Final Word: What motivates Peter Rasputin to become an X-Man are his family and his desire to make a better world for his baby sister. Chris Yost clearly defines this motivation in a believable and well structured story. He also smartly plays off of our knowledge of Peter's future to make his choices even more poignant. The book has a sense of continuity, a solid command of tone and atmosphere and a gentle melancholy heart. Peter's transition from Russian farm boy to X-Man makes sense. What more could you ask from an origin book?

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

Editor's Note: Iron Man: Legacy of Doom #2 arrives in stores tomorrow, May 14.

Chapter Two: Night of the Living Dad

It's astounding
Time is fleeting
Madness takes its toll
But listen closely

Not for very much longer

I've got to keep control
I remember doing the Time Warp...


A new Michelinie & Layton Iron Man story. Take a minute to breathe it in.

Four-colour fans all have their favourites, whether it's Spidey or Supes, Wonder Woman or GL, Bats or the Punisher. Iron Man's actually my number two (after the Vision), but a strong second choice. Reuniting probably his most famous creative duo should be a reason for dancing in the streets. Chapter one was good for a quick two-step.

Portrayed as a flashback, this story has Tony Stark stumbling upon a recording of an event of which he has no memory. Once, he did recall, he'd been inadvertently swept back in time to Camelot, where he'd naturally aligned himself with Arthur and his knights in the face of an invasion from Morgana Le Fay and her army of the dead, abetted by Doctor Doom. Doom was after something, naturally, which Iron Man's interference had cost him. Ultimately, they were forced to work together to return to (their) present, with Doom swearing vengeance against the Golden Avenger. Sometime later (the pieces exorcised from Tony's memory), while in orbit helping to repair a shuttle, Stark is approached by Doom with an offer of returning to Camelot for further daring do. It's a trap, of course, and Tony finds himself in the Marvel version of Hell; in this case a wholly owned subsidiary of Mephisto Inc., or thereabouts.

At this point the tempo should flow into a choreographed sea of waltzing to delight Richard Strauss. Instead, the gears are downshifted to a slightly sluggish shuffle. Doom reveals his nefarious scheme via the abduction and incarceration of Morgana, achieved through a deal with the devil; Mephisto has a real mad on for Tony, you see. Tony? He has a Hell of a time.

The closest analogue to the Michelinie/Layton interpretation of the underworld that comes to mind is that of John Wyndham's "Confidence Trick", where "Hell" was exactly as popular culture described it: caves of fire, the stench of sulphur, and throngs of singleminded, pitchfork wielding, pointy tailed demons. Wyndham's protaganist rejected the reality presented to him as ridiculous and trite, and contrived a means of escape back to London; I won't spoil the ending, but one of his fellow lost souls, a True Believer, took umbrage with his attitude and actions and sets to restore the perceived order of things. Here, Mephisto is portrayed as part crank, part buffoon. He pulls strings, provides commentary, and behaves more like an irritable child than the personification of Evil; the setting mirrors a factory with requisite stygian accoutrements. For an as yet unrevealed reason, beyond the obvious, Mephisto greatly covets Stark's soul and concocts scenarios with which to play with his prize. The title of the chapter refers to a battle between Tony (as Iron Man) and his deceased, demonic, and armoured-up daddy, Howard; I must have missed the stories where Howard Stark was transformed from overbearing prick to Damned, though Tony doesn't seem terribly surprised. It's no big reveal that Tony's sheer goodness allows him to win through, and technical genius allows him to escape. From Hell. With the Devil watching. That's a problem for me.

Doom, meanwhile, wrests his prize from Morgana, sends her back to Camelot, and gloats. Tony appears back in Castle Doom through the Time-Whatsis to confront him. Sharks are jumped as Victor produces Excalibur and floors Stark as it penetrates his armour. Iron Man spent some time working with Dane Whitman, the Black Knight, who also possessed a mystic sword capable of rending any substance, and for all Stark knew, Doom's blade could have been adamantium. The ability to so shock someone possessed of the aforementioned "technical genius" is another problem. We're left with a stand-off as Doom swears to quench his thirst for vengeance.

There's a further "technical" problem, and an odd one given what we saw in the first chapter. There, Iron Man had bulky, shoulder-mounted thrusters presumably used to achieve escape velocity. A terrific amount of force is required to propel an object beyond Earth's pull, which is why huge, expensive rockets are used to launch something the size of a toaster. Iron Man's thrusters, awash in pseudo-science as they may be, manage to address this. Good show! Then, in escaping Hell, Stark is (again) assailed by a swarm of highly acidic techno-amoebas, which he keeps at bay with an electro-magnetic forcefield. Time is running out, however, as the acid begins to eat through the forcefield. If just one, small mention had been made that some magic was at work, or that the creatures were channeling energy through their goo, all would have been well. It's a little depressing to see a story stumble this way.

Enough grousing, let's get back in fanboy mode. When Bob Layton first took on Iron Man, it was nothing less than a paradigm shift. Fond as I was of other interpretations, from Don Heck to Gene Colan to George Tuska to the brothers Buscema, Layton was the first to give the character some Clank. At last Iron Man gleamed, real substance was returned not seen since the original pot-boiler armour. "Revelation" hardly describes it. Not even Neal Adams, who gave us gorgeous high-tech (reminiscent of Al Williamson) long before Star Wars became the standard, managed to capture him; his Iron Man was very pretty, but still seemed more like a tinfoil leisure suit than a steel exo-skeleten. Jim Starlin's model was still less impressive, remarkable from an illustrator who made his bones with the epic space opera of Adam Warlock. No, Layton was the man. I've previously described how superb brushmen like Tom Palmer or Joe Rubenstein can add considerable depth and polish without imposing their own styles; when Bob Layton finishes Iron Man, whether working atop John Romita, Jr., Jerry Bingham, Mike Zeck, or in this case Ron Lim, there's no mistaking that it's a Layton book. Lim's pencils are very fine, of course, but if you've climbed aboard as a fan of his work, you've found yourself something a little different.

So, yes, there are some issues, but the story is sufficiently compelling even if it boils down to a clash of armour. That's what we really came for, anyway. Iron Man versus Doom. Power against power. Super-genius vs. super-genius. Good vs. evil. It's a trip. The next chapter promises just that, so get yourself geeked early. Okay, it's over, you can exhale. Now, let's get ready to Rummmbaaa!!!

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

Editor's Note: Wolverine #65 arrives in stores tomorrow, May 14.

Rob Garney pencils and inks Mystique's slender body in the foreground (keeping her oh-so naughty bits in the dark), interposing her against the five other panels on the page. Although Wolverine is interposed at the center, even stepping on a panel of his own gritting face, Mystique takes center stage. She has played many roles in this four-issue arc: the trickster, the femme fatale, and cold-blooded killer.

But Garney's depiction of her on page 15, naked but confident, striding nimble predator around her prey, exemplifies her modus operandi: charm. The ability to shape shift, to look like your enemy or one of his loved ones, is empty without the ability to disarm your target, to swagger them whatever which way you choose. And Mystique has used this ability throughout the arc to escape Wolverine and death, to get a military envoy, and now a cache of weapons to blow the clawed Canadian sky high.

There's a lot to comment upon in this Wolverine story arc, but Garney's incredible storytelling and dynamic layout steals the show this issue. Garney has shown Mystique to be visually alluring and frightening. She looks like a supermodel (Rebecca Romijn? Nah), but her bright yellow eyes impart her sinister intentions. She struts completely nude around Logan on page 15, weaponless against a man who never is without one. Garney focuses on her pouting lips and the curves of her body, but shades the remainder to effectively evoke the sinister quality of her sexuality. Although she uses it to distract Logan at first, on this page she uses it to draw him to her, whereby she'll be close enough to shoot him. You'll have to pick up the issue to see where she's hiding the gun!

Now, on this same page, Garney lays out the panels with a great pacing of character beats (an representative action by a character that impels the larger narrative and character arc forward). The first panel is laid out beneath a column of four panels, which is above a long panel. The figures in panel 1, Mystique and Wolverine, are interposed on the entire page, stepping on panels of themselves. As the interposed Mystique in panel 1 circles her prey (who is ready to stab her), panels 2 and 3 reveal how blind-sighted Wolverine has become after three issues and fifteen pages of building anger. In panel 2, Mystique's eyes are narrow and aloof. In panel 3, Wolverine's eyes are opened wide and his pupils beady, connoting the vitriol spilling over inside him. Panels 4 and 5 reveal Mystique's hidden weapon and Wolverine's guilt over what she is saying to him, respectively. This column of panels juxtaposed to the interposed figures creates a succinct narrative moment where the characters, after issues of chasing each other, finally stand off against each other for the last time, but with enough room left on the page for one figure to fly at the other (panel 6).

Will this be the end for Mystique? We shall see, but it's the end of Jason Aaron and Rob Garney's "Get Mystique" story arc, which has been the best Wolverine solo story I've read so far. I hope the creative team comes back for another beat down.

Final Word: BUY IT!

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

DC should be breathing a heavy sigh of relief now that this issue has hit shelves. What should have been the greatest creative team to hit shelves in some time after the One Year Later jump finally finished their initial story arc. The comfort is now the publisher can collect the three issues and two annuals (if that tells you how long this took to wrap up) from Johns, Donner and Kubert and package it into a very nice hardcover edition and make all the real money from this triumvirate.

You know what's the best part of this series, now that we saw the finish? There wasn't a bad issue in the bunch. Sure there was a gimmick ending with the “rubber-banded spaceships from the Phantom Zone” thing, but at least he didn't use magic to get Zod and the rest of Krypton's criminals back into their cage.

I enjoyed this story not only because the Kryptonian general turned out to be the bad father we all knew he was, but Lex getting to play the good guy finally was a riot. Did you see the pure joy on his face as he put a beam of Kryptonite through one of the escaped convicts? It was satisfaction realized, yet part of me wonders if there wasn't a lack of satisfaction from Lexie that it wouldn't be the same unless it was Ole' Spit Curl himself.

The sacrifice by Lor-Zod was also very epic in emotion, mostly because of Clark's attachment to the boy. I don't know about referring to him as “Chris” from here on out, because that's not the kid's name. If the child is somehow found in the PZ, I suppose I'll share my first name with the character. Bad father or not, though, the boy is the product of Zod and Ursa. I thought the use of him as part of the heroic bookend was a nice touch from the writing duo. I'd love it if somehow in 15 years the character is dusted off and used as a new heavy in the Superman mythos.

Suffice it to say, while I'd love to throw sticks and stones at Geoff Johns and his script of this issue...it wasn't that bad. Yes, that's the best compliment I can muster for the man at this point; and yes, it carries with it a lot more weight than it would seem. I've read my share of horrible enders from this dude over the years. To have a broad canvas painted to sate the appetite of people clamoring for Zod, and give due justice to the Phantom Zone criminals was something we as readers deserved from this team.

Speaking of painted canvas, I'm sure glad I got to see Adam Kubert's pencils again. He was so gracious when I spoke with him at Wizard World Texas last November, and this story suited his talents greatly. I was struck with awe when I got to view the double splash of Supes standing on a semi that was lodged into the side of a skyscraper. I spent a bit of time this past weekend trying to summarize why this artist's work is of particular interest to me, and I don't know if I can. It just feels like you're reading a big story when he's involved. Much like JG Jones, Steve McNiven and Jim Lee, Adam Kubert brings a story up a level when he's involved. I hope to see him do more interior work in the future now that his health has improved.

Clark not only helped save the world yet again, but he was shown to be the father figure he should have been written as instead of the absentee superhero in the recent movie. I actually want to see him and Lois adopt now, although it probably wouldn't feel the same if it wasn't Lor-Zod. I'm going to bask in the glory of this story arc for some time, I can't even touch another Superman comic right now because it would cheapen the moment I had after closing the cover on the first read. It's doubtful we will see a creative team like this ever again, so be sure and reserve your hardcover of this when it comes out. I know I already have.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

"The First Drink Is On the House"

Every few years, Vertigo puts out an updated version of an old DC comic, or a Vertigo property that has been around in the past, or a title related to Sandman, which was arguably their biggest success and at one time the basis from which half their titles had spun off. While the imprint does develop plenty of new series that stand on their own, they've done their best to mine the history of their parent company for ideas, as well as operate in their own little "universe." The new House of Mystery series fits into that template, telling stories about the denizens of the titular house, which, as we learn in a prologue, has been stolen from its usual spot in The Dreaming and its proprietor, Cain. It seems that it has now become a waystation for travelers from various realms and dimensions, and the residence of a few young people who have become trapped there and decided to pass the time by serving food and drinks to the travelers, in exchange for stories.

It's a pretty good format for the series, as we will get to know the regular protagonists and learn about the, um, mysteries of the house, while being entertained by little stories that we hear every issue. This issue is focused mostly on setup, as we see that one of the group is getting to leave the house for some reason (it involves a ghostly carriage driver), and another girl is finding her way there, as she desperately flees some creepy pursuers while clutching some blueprints that she made of a house she keeps seeing in her dreams. Sure enough, she ends up in said mysterious house, and who knows what she'll discover about it, and about herself.

But that's all in the future, sure to be revealed in subsequent issues. For now, we're just becoming acquainted with the setting, and it's a rather charmingly creepy place. Artist Luca Rossi does a fine job of establishing the strange architecture of the place, full of weird decorations and gloomy rooms. Not to mention all the wacky-looking visitors, who seem to come from all sorts of eras (or stories); their numbers include a British punk, some cowboys, and even a retro-futuristic spaceman. Who knows what kind of interesting stories they'll tell in the future.

We do get a hint of what sort of freakiness might ensue, as one visitor, a young girl named Hungry Sally, regales us with a story about her past. While Matthew Sturges wrote the main story, this mini-tale is written by Fables scribe Bill Willingham and illustrated in a cute/grotesque style by indie artist Ross Campbell (Wet Moon). It's a really disturbing piece about the girl living in a town full of giant flies and eventually marrying one, then bearing children in a horrific fashion that reminded me of some of the nasty gore comics that come out of Japan. If this is the sort of thing we can expect in future issues, the short tales alone should make the book worth reading.

So it's an auspicious debut, striking just the right balance of introduction and story, primed to draw new readers into the fold and keep them coming back month after month. I for one can't wait to see what Sturges and Willingham have to show us.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

"Wolves at the Gate (Part 3)"

Plot: Now that they know what the Japanese vamps want, Buffy stages a short and quick strike mission with a few simple goals: get back the scythe, and dust all those uppity vamps. Luckily for her, Dracula wants to help.

Comments: It's not Buffy if it's not gory and gross occasionally, and Aiko's fate at the hands of the Tokyo vamps is a grim issue opener. Jeanty does a lovely job with a Buddhist shrine when Buffy retrieves her corpse, and from then on it's an oddly macabre but humorous tone when Dracula arrives with his usual loving disdain.

Goddard pulls off the dialogue wonderfully, and that really may be the best part of this arc, which, in the tradition of the show we watched so closely for seven seasons, doesn't represent big or little bads, just a bit of local color as the real threats build in the background. These Tokyo vamps, for all their big plans and general weirdness, aren't much more than filler, and there's no real sense that they'll actually succeed at turning all the Slayers back into weak little girls, ripe for the eating.

The vamp-baiting they do on Japanese turf to gather intel is old hat for the Scooby Gang, and the love-life shenanigans for Buffy/Satsu and Xander/Renee provide minor-key soapiness. What makes this issue work is the humor amidst the carnage, and that is provided by a very needy and superior Dracula (really a dangerous combination, complete arrogance meets deep-seated insecurity, guaranteed chuckles) and by a use finally being found for Dawn's Season Eight affliction that almost makes its protracted endurance worthwhile. The covers (both of them, oddly) give that one away.

Surprising murders do not instant classics make, but great dialogue and beautiful art still make this an above average read. The momentum of Season Eight rolls on.

---

What did you think of this book?
Have your say at the Line of Fire Forum!

---

Plot: Gangster story that comes off more as a con than a pro.

Comments: Dock Walloper is about a prohibition era gangster with a big right hand, and that's no metaphor. John "The Hand" Smith has an oversized right paw. Now it stands to reason that such an outstanding physical attribute would serve as a metaphor about something in the story. The best I can come up with is about reach exceeding grasp… Come to think of it, that IS an apt metaphor, but as a metaphor for Ed Burn's gangster comic. Little makes sense here for a plot or story arc. The arc of a gangster story involves a rise and fall structure, but that's not here to any real degree. In the intervening issue (#3) John becomes a media hero and earns the animosity of his boss' second in command.

The issue opens with a botched hit on Smith. Smith and his life long friend Bootsie's (the black guy) natural reaction is to high tail it out of town… oh, after a "Last Big Score." In case you didn't realize, "The Last Big Score" is probably the most over used cliché in the genre. It wouldn't be so bad if Smith had a plan other than stealing a big opium shipment for his "big score." But that's it really and, by the way, his boss and number 2 know about the job because Smith told them about it. This doesn't even cross Smith's mind when doing the heist, which is strange because it occurs to me. When Gentleman Jim (the Number 2) shows up at the opium heist, it's a big surprise to Smith, if not to me, or anyone else with a smattering of intelligence. An interesting wrinkle in the crime genre (particularly the Heist types) is getting out of a jam with guile, smarts and surprise twist. John just punches his way through the goons but that's not enough. John's ass is saved by Bootsie's gal Ring-a-Ling who, being Chinese, is a kung fu master aside from being a prostitute. Bootsie takes a bullet (but it's just one of those good guy hits in the shoulder) and they escape. At this point any rational character would leave till things cooled off a bit, but not John! He heads right back in to have sex his boss' moll. There is a minor "motivation" when John finds out that his boss killed his father years ago, but it was an accident, not intentional, and John doesn't really seem affected by the news anyway. Cora, the moll, tells Smith that all she really wants is to cash out and get a little place to call her own, after she somehow gets revenge on Madden for killing her father. This is another of the most overused clichés you can have in a crime story, but Dock Walloper seems intent on hitting them all. Naturally, Madden knows about Cora and John and kills her in a burst of jealousy. It should be noted that when Madden kills Cora the art slips into black and white with a few items in color (one being blood red), sound familiar? It's a jarring style shift, and making a visual reference to "Sin City" really only points out how this crime comic doesn't measure up. Frank Miller, for all his bombast, understood what makes crime melodrama tick; Ed Burns only has a slight grasp of the surface. It could be chalked up to inexperience, but Jimmy Palmiotti is also on board and he should know better. Another problem with the story is that the pacing lurches from stilted dialogue to increasingly over the top action sequences. John and Bootsie are attacked at their Coney Island hideout… well, on the boardwalk. Somehow Bootsie finds himself on the tracks of the roller coaster running from a carload of thugs. Then he amazingly grabs a shovel that was on the tracks, leaps off the tracks and decapitates one of the thugs. Action sequences should have a sense of internal logic (or at least a sense of coherency); if they do, you can get as crazy as you want to (check out the last coupla issues of Midnighter for an example of insane action that never stops making sense no matter how outlandish). If they don't, you get shovels on the tallest peak of a roller coaster (what could anybody be digging for on top of a roller coaster?). The issue ends with John, Bootsie and whomever driving off a bridge plunging down into oblivion. Now there is an apt metaphor for this comic.

Final Word: Essentially, in this issue nobody acts with an ounce of common sense, a key survival trait in the regular world little less the criminal one. The characters basically feel interchangeable; the only thing that distinguishes John from the others is his big right hand. You care little for any of them for that reason. Also, when the script realizes it has nothing to say, a host of goons appear and we jump into an action sequence. I still like the art somewhat, but it's not enough to salvage the near incoherent mess this book has become. The characters in a crime story have to be cunning and have smarts; Even with their fatal flaws and violent behavior, there has to be something in them that the audien