Aeon Flux (1-4) Mike Kennedy (Writer), Timothy Green II(Art), Dan Jackson (Colours), Michael David Thomas (Letters). Dark Horse Comics (2005)

A very enjoyable and entertaining science fiction comic. The city of Bregna is a walled sanctuary against the fiercely encroaching jungle that surrounds it and which is kept a bay by defoliant cannons that fire each hour. Aeon Flux is an agent of the Monican Rebellion who are fighting directly against the rulers of the city. When a new defoliant is developed that would potentially eradicate all plant life outside the walls of the city, Aeon Flux and a partner are given the task of stopping the deployment of the defoliant. The story unfolds at great speed, the action is a joy to read and the conclusion very satisfactory.
The story is so slight it really is more of an extended anecdote, it does not have the dramatic weight of a full scale story. What it does have is great charm and vigor, the context is quickly established and the players and their motives are clearly established so that the conflict makes sense and has enough weight for the reader to care.
Mike Kennedy has created a wonderful character with Aeon Flux herself, there is a very strong sense that the reason she is involved in the Monican Rebellion is because she is massively enjoying the risk taking and the physical struggle of the fight. She is having a ball walking on the edge, getting into danger and pushing herself, she is not stupidly taking risks, she is enjoying exercising her talents, the cause is important but not primary. When she is given a partner, she is not happy since this is effectively a limit on her freedom of action, she is still committed enough to the cause to accept the command.
The politics of the city are neatly set up, the factions in the government and the nicely elusive Handler who leads the Monican Rebellion, both having a greater concern for their own agendas than any of the people they are fighting around. They make Aeon Flux's straightforward but not stupid engagement in the action stand out all the more by contrast.
Timothy Green II's art is distinctive and a pleasure to read, the cast are very well developed, the body language is fluid and the action is superbly choreographed. The various use of panel borders, some have them some do not, and varying panel sizes control the pace and flow of the story without every intruding.
Dan Jackson's colouring is stunning, it is bright and vivid, in particular the colours for the clothes the cast wear are great. The city is bright and crisp as the happy controlled future should be, the darkness is contained in the action and the contrast give the story force and depth. Michael David Thomas's letters are subtly effective, they give a credible emphasis and tone to the dialogue, his sound effects are a pleasure, nailing the moment with precision. Great science fiction from very talented creators.

Kull: The Hate Witch. David Lapham (Writer, Gabriel Guzman (Art), Marino Taibo (Inks), Dan Jackson (Colours), Richard Starkings (Letters). Dark Horse Books (2011) (

Enjoyable sword and sorcery story. Kull is visited in Valusia by an old enemy from Atlantis, the Hate Witch. She is the last survivor of an ancient race that ruled in Atlantis and she sees Kull as the key to her revenge on humanity. Kull is forced to chase her back to to Atlantis, where he is a hated enemy and exile, and where the Hate Witch can fulfill her plans. The reveals are smart and the action is fast and sharp.
Sword & sorcery is by its nature a straightforward genre, dealing in big ideas and loud action, it is possible to be too straightforward and this book is an example of that. Kull is a barbarian king of an old empire, ruling a restive population that do not fully accept him and surrounded by the constant possibility of revolt. Diplomacy is not his strong suit and the administrative aspect of ruling bores him. The opening of the book takes advantage of this as the Hate Witch starts to murder people to draw Kull into her plans. The existing fractures in Valusia are put under great pressure forcing Kull to return to Atlantis and deal with the threat.
Once on Atlantis the story looses its nice complexity and become a very straightforward hunt and kill, the return of an exile stirring up memories and more. Unlike the situation in Vaslusia where there is a nicely complex web of loyalties and jealousies simmering all the time, the action in Atlantis is just too simple.
The fact that Kull is exiled from Atlantis does not have enough present significance for the situation in Valusia for it to really matter much, so a story where it is central feels like a detour from the main action. While it does give some background and the Hate Witch is a first rate foe it is just too far from the central premise of the whole Kull saga to have much weight.The art by Gabriel Guzman and Mariano Taibo is lovely throughout the book, action or court dispute are given care and detail that make them a pleasure to read. For a story where physical presence and action is vital the cast move with in the context with force and energy. The facial expressions and the body language are clear and engaging, the cast are individual and feel like they are really on the adventure. The colours by Dan Jackson are superb, they draw out the details of the art without ever drowning it. Richard Starkings provides great sound effects and letters that give the words nuance and tone.
A minor well told Kull story is still a pleasure.