Editor's Note: Kick-Ass #5 arrives in stores Friday, January 2.

It's been a long time since the last issue of Kick-Ass. Apparently, the delay has been due to penciller John Romita Jr. undertaking some work for an animated segment to be included in the movie adaptation of the book, and Marvel's subsequent use of inker Tom Palmer and colourist Dean White on other projects whilst they waited for Romita to return (projects which then had to be completed before this issue could be inked and coloured). Hopefully, the book is back on track now. After all, if the schedule continues to slip, we could be looking at a cinematic first: an adaptation of a comic book that hits the screens before the series itself has even been completed. In fact, it's very difficult to not consider the movie of Kick-Ass when reading the comic, as the two are being developed simultaneously. Inevitably, each is therefore going to inform the other - and this issue feels like the first one to really reflect the influence of the movie adaptation on the comic.

Here, we see the introduction of a character called the Red Mist. He's a character who hasn't yet appeared in the Kick-Ass comic, but who has already been cast in the movie (to be played by actor Christopher Mintz-Plasse - otherwise known as "McLovin" from Superbad). Millar spends a lot of time with the character here, to the extent that he feels like he should be sharing top billing with Kick-Ass himself. I can't help but feel as though the Red Mist's role in the story may have been "bumped-up" due to his higher profile in the film adaptation, and it unfortunately shifts the focus away from the characterisation of Dave Lizewski, which had previously anchored the book. There's also a development at the end of the issue involving Big Daddy and Hit-Girl that feels as though it runs counter to the characterisation of the pair in earlier issues, and I can't help but wonder whether their relationship with Kick-Ass might also have been modified so as to better reflect the creative choices of the filmmakers. If not, it's a change that demands more of an explanation next issue.

Regardless of these distractions, Kick-Ass #5 is actually a pretty fun comic. The relationship between Kick-Ass and Red Mist is an enjoyable one: it's not many superhero team-ups that show two geeks dressing up as superheroes, getting stoned and driving around town in a pimped-out sports car listening to Danny Elfman, but this book makes it work. There's also an amusing set-piece later involving a burning building and a woman who asks the pair to save her baby, which leads to more catastrophic misadventures in the style to which Kick-Ass readers have become accustomed.

However, I'm still finding that the book is a little one-note, and the characterisation of Dave Lizewski himself feels as though it has barely changed since the first issue. There's another scene that shows him pretending to be gay when he's secretly infatuated with a girlfriend; there's another scene that shows him seeking out crime but misreading the situation; and there's another scene in which he talks about how popular he is on google and myspace. However, for the time being, these scenes are still fairly well-written and well-illustrated, so the joke is still funny. I'm just wondering how much longer it can remain so.

Ultimately, I'd probably award this book a lower bullet-rating if not for the art team. It's no secret that John Romita Jr. is one of my favourite artists, but although his work here is as enjoyable as ever (with the usual satisfyingly chunky sense of physicality to the characters, and a tangible sense of texture to their clothes and environments), it's the work of colourist Dean White that really stands out as worthy of praise. The opening shot of Red Mist is imposing and atmospheric, but also carries a sense of the absurd thanks to White's use of vivid primary colours for Red Mist's Silver-Age-style costume. The contrast between the crimson tones of Red Mist and his car and the greens of Kick-Ass' wetsuit really makes their scenes pop. And White shows an ability to tone things down when he's called on to create a darker, grittier mood for the book, too (such as the scene set in the burning building). Along with Tom Palmer's confident inking - - with unashamedly solid and thick lines for the main characters, but a lighter touch for the backgrounds and spots of detail - - it makes for a great looking book.

Whilst Kick-Ass isn't my favourite superhero title, I'm still finding it to be amusing enough that it's worth a read - even if the central premise is starting to wear a little thin. Despite this repetitiveness, and the distraction of the possible changes made to the characters due to the movie adaptation, Millar still manages to include a couple of fun setpieces that allow the story to balance out its shortcomings. And if nothing else, the artwork will keep me coming back for more.

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