The Comedian

Given she professed to be 'Damned hard to kill' during one of the miniseries she's appeared in, and claims to be as possibly long-lived as her father, it's no surprise. She obviously wasn't going to die six issues into the series, and I doubt Gail Simone, who first coined the term 'Women in Refridgerators' for how comic book females are dispatched in really hideous ways, would kill off one of her own characters with something like a single headshot.

Regarding Nico, I think I remember reading in one of the older issues that she will eventually be able to cast spells without the Staff. For the moment, it's more akin to a set of training wheels, I guess. Plus, in the second issue of Volume 2, she creates an image of Alex, apparently without the Staff's aid, so I'd assume she does have some power of her own.

I would've thought the 'shield' movie was in fact one to give Jackson a starring role. I don't think Marvel would fork out money for a nine-picture deal if he was only going to appear in some of them like he did in Iron Man, a brief cameo or whatever. So I think it could, perhaps, be a prequel movie, showing how Fury came to be where he is at the point when he first appears in Iron Man.

Which could, really, be pretty interesting. Sam Jackson indulging in some wicked, Steranko-inspired adventures like the old 'Agent of SHIELD' book could be pretty awesome.

Going back to Kirby, the King established his idea that superheroes should be seen in brighter, positive colours, such as the primaries - Red, Yellow, Blue, and combinations thereof, because they reinforced the notion that these were positive-minded people trying to do good. Green and purple, meanwhile, in the tones availible back in the sixties, were much darker and more sinister, and therefore more appropriate for villains. Hence why your Mister Fantastic wears blue and white, and Doom is decked out in green and dark greys.

We get the point, Bendis doesn't like Jan. But really, was it necessary to kill her like that? Use one of the founding members of the Avengers for a pathetic cliffhanger of an ending, and then just wipe her out of all existence like a bug you've squashed underfoot?

This is, of course, after his portrayal of her as a complete and utter idiot, drunkenly revealing things to the Scarlet Witch (despite the fact she already knew about her kids), and portraying her as little more than a complete tool of a socialite, presumably for Bendis' own amusement and the fact he doesn't really get her.

Ok, so under 'friends and family', we've got Ra's Al Ghul and Talia, which was naturally the subject that tenuously allowed Timm and co to do the Hex-starring episode of B:TAS, and Ra's was revealed to be his father. But, have we ever seen this connection established in the books? Or is it just something Dini, Timm and co came up with?

Vendetta is the heavier story, I beleive. From discovering the horrid reasoning behind V's efforts, to Evey's initiation at the hands of V, and the brutal finale in which V gets his wish, to allow the people to decide through chaos, the story is immense. I also love some of the inspirations behind Moore and Lloyd's development of V - the Shadow and the old pulp style characters - In which they do things that are as bad as the villains of the piece but you believe in them purely because the story puts them as the good guys - V even refers to himself as the villain, the bogeyman of the twentieth century.

Watchmen, as brilliant as it is, falls a little short for me because I don't believe the narrative is as strong. It is a brilliant work and serves to deconstruct the superhero genre unlike anything else, even Miller's DKR, but I think it is simply a series of extraordinarily-well-done character moments strung along on a paper-thin narrative, first following the investigations of Rorschach, then Nite-owl's retribution, and finally the revelation of Ozymandias' plot. But this isn't to put it down, it is a superb work. I just prefer V for Vendetta, to be honest.

On a final note, there are too many parallels between Britain as it is right now, and Britain in the story, which gives it extra depth. In the intro, Moore posits the notion that Conservative England - At the time Vendetta was written, Thatcher had been in power for years, and already things were turning sour - is beginning to be too cold, and nasty, so it's ironic that under Labour, things have possibly become worse than ever before, and much closer to what he and Lloyd envisaged.

So, yeah. I prefer Vendetta, is the short answer. Good question, by the way - The two are often held up as the best of his works, even though I prefer his ABC series, Top Ten, over either of them.