Mostly because I'm thinking of booting up Eternal Darkness again...oh, wrong cube, nvm.
Synopsis:
spoilers:end of spoilers
We open with Karnak sat alone in the Chapel of the Single Shadow as Coulson appears, and muses about how weird it is that teleportation tech is something he takes for granted now. This turns into a talk about cubes, how they seem to be the product of intelligent design yet can occur in nature, and what that means, before Karnak requests access to one of the Single Shadow devotees presently being arrested by SHIELD.
A bit later: Karnak gets his access, to a chap called Russoff the Painter. Karnak wants to know why Adam the maybe-powerless Inhuman was abducted - but Russoff claims he was simply invited along (although, being a more recent addition to the cult than Adam, he didn't see that himself). The 'painting' of Russoff seems to be another gift from Adam; a sort of stylised mental projection, he can draw images from his own mind and others'. He leads Karnak through the slums and crackhouses he called home in his previous life while recounting how sad that existence was; more importantly, he takes the memories of Karnak and use them (and Karnak's typical glib responses) to deliver a brutally direct definition of Karnak's own flaw. He was not born with any special talents, was denied Terrigenisis, and so has spent his life heaping scorn on everything extraordinary, and doing all he can to make the great feel small.
Karnak's response is to lose his temper and explode the man's head with his fist.
Karnak emerges from the room shaken and lies to Coulson, saying Russoff was a human bomb left as a trap. Coulson doesn't seem to buy it, but he's got more important things to talk about - Adam's real location has been uncovered, finally. And now Karnak, mission be damned, very much wants to go kill the boy.
Initial Thoughts:
- I haven't talked about Karnak before now, mainly because I wasn't sure what to say. It's been a good series from the start, but there's not been much to it, just a blackly humourous reminder of how badass Karnak is, only really noteworthy for Warren Ellis and the bloody delays. But #5 changes that. It's gone from being a demonstration of Karnak into a deconstruction, and it's both simple and utterly fascinating and may have made me actually clap my hands, in public, on a train today and got all sorts of weird looks from elderly types for it.
- F*** grandparents and their judgmental eyes.
- The callback to the 'baby Karnak' scene from #2 is especially weighty. Previously the words in that scene held my attention, but now I see it's the images that carry the most weight.
- No disrespect to Gerardo Zaffino, but I'm kinda wishing now that Roland Boschi had been penciling this series from the start. His layouts and expressions have been A-1 thus far. And Dan Brown's colours have kept the book feeling unified despite the shifting art under them.
- Also, given what we now know of Karnak's persona, his initial interest in Adam takes on a new light. An Inhuman who went through the mists and gained nothing would be attractive to him as a kind of...trophy, I'd wager.
Sound off.