I find the new direction, new characters and new setting to be a refreshing shift in the Kick-Ass saga. Overall, Millar has put together a provocative look at super hero conventions which pokes both fun at its devotees while at the same tries to have a meaningful, albeit implausible purpose. Though the comic can't be the same as the movie, which I loved watching, it was missing a key piece. Rather, the focus here is on character development: Millar is able to make readers fear for her very quickly, which is not a small feat for someone portrayed as such a powerful and capable soldier.

This New York Times bestseller became a worldwide phenomenon overnight, spending three months at the top spot on the Diamond Direct Market chart and spawning the Kick-Ass movie that opened at No.

There is one particular bit when Patience’s husband is introduced that is so precise, with his personality revealed on the twitch of a smirk, that one cannot avoid but to congratulate the artist. Over at colors, Steigerwald clearly worked hand-in-hand with Millar and Romita, as much of the issue’s pace is reinforced by the choice of palette: the Afghanistan pasts sequences have very earthly notes, gradually shifting to lighter and brighter shades when Patience is with her family, to dark and dirty towards the end. Dies zeigt sich besonders durch die erste Konfrontation mit den Straßengangs und die darauf folgende Rehabilitierung von Kickass.

KICK-ASS IS BACK-ready to wipe out the city’s criminal lowlives, destroy its gangs, and save its communities from decay. Overall, as impressive as it looked, I cant shake the feeling that this was another story first and a Kick-Ass continuation second. Lately, I've noticed he seems to reserve his more meticulous, focused and deliberate work for creator-owned projects such as Kick-Ass, whereas his linework on splashier corporate comics is a lot looser.

Overall the new Kick-Ass is a mixed bag, a fumbled attempt at producing the kind of comic the industry needs with some really nice looking art.