Marvel Comics are keeping their side of the bargain, admittedly; if you're not interested in the hardcover reprint of poorly-drawn 1980s miniseries Kitty Pryde and Wolverine or the Skrulls! oneshot (pretty much a collection of fact files to bring you up to speed about Secret Invasion's Secret Invaders), then you're pretty much limited to two books: the reprint of the first couple of issues of the Halo: Uprising comic to remind you what happened now that the end is finally nigh, and the far-more-enjoyable-than-it-has-any-right-to-be 500th issue of Uncanny X-Men, where the team moves to San Francisco and parties at the SFMoMA. In other weeks, it'd easily be the must-have book of the week.

Sadly, though, DC are doing their best to claim that title for themselves with the long-long-long awaited return of Ambush Bug in Ambush Bug: Year None, wherein Keith Giffen's fourth-wall breaking snarkfest takes the last five years of DC's output to task for being confusing, depressing and just plain not fun. You know you want to read that. Collections-wise, you can catch up on space religion in the unfortunately-named-but-actually-fun Countdown To Adventure (starring Animal Man, Starfire and Adam Strange from 52), catch up on the joys of matrimony with Green Arrow/Black Canary: The Road To The Altar, and catch up on how the mighty have fallen with Authority: Prime, where superhero comics' one-time most daring title is reduced to generic continuity schlock. If that last sentence made no sense to you, then perhaps you should avoid superheroes altogether and pick up the X-Files Special, instead.

Image Comics are also making a strong showing this week: The next big Witchblade storyline begins in the first issue of Broken Trinity, Mark Millar and Tony Harris get their political satire on with the debut of War Heroes, Mike Allred's Madman questions reality in the first collection of Madman Atomic Comics, and Tori Amos finally becomes the comic character she's always wanted to be in the indie-creator-tastic anthology Comic Book Tattoo.

And just in case none of that is enough for you, consider the two takes on post-Buffy female heroes available in the indie comicsphere this week: Oni Press' The Apocalypstix finally bring their post-nuclear brand of rock, roll and kick-ass to stores at the same time as Cassie Hack of po-mo horror book Hack/Slash teams up with real-life emo pornlets in the Hack/Slash Annual Featuring The Suicide Girls. And, yes, I wish I was joking about that last one as well.

As ever! All of these books and many, many, more are listed here for your perusal and, if you've somehow made it this far without knowing where your local comic book store happens to be, you can find that out by clicking here. It's probably a great week to go to the store, really, because chances are they may be really quiet...

With the continued, somewhat inexplicable, success of Hancock, it seems that the only constant in Hollywood math is "(Will Smith) + (4th of July Weekend) x (Genre Movie) = $$$." Bearing that in mind, we thought that it's be kind of us to demonstrate to some stalled SF movie projects just to how to use the Fresh Prince of Bel-Air (and, let's face it, wherever else he wants to be the Prince of, these days) to get their movies up and running again.

Halo
Will Smith is...: The Mysterious Master Chief.
Why This Works: Sure, in the games (and the novels, and the comic books), you never see Master Chief's face, but just as that didn't work for the Judge Dredd movie, it's not going to work here, either. Pull up that visor and let's see the sensitive man underneath who knows that war is hell and space war even moreso. Smith got an Oscar nomination for The Pursuit of Happyness, so let's see him bring the pain here. Literally.

The Six Million Dollar Man
Will Smith is...: Well, Steve Austen, obviously.
Why This Works: Isn't it time to ruin another '70s TV show with the same kind of comedy treatment that worked so well for Starsky And Hutch? Put Smith in the familiar role and let him play it for laughs - Austen's cybernetic upgrade not only gives him more strength, super-powered eyesight and the ability to run surprisingly quickly, but also the power to loosen up his uptight white boss, played by Billy Bob Thornton, continuing his streak of slumming it in broad comedies. Throw in a Will Farrell cameo and it's box office gold, baby.

Ghostbusters 3
Will Smith is...: Nerdy accountant Louis Tully.
Why This Works: So Rick Moranis doesn't want to come back to the role that made him famous? That's no problem - Replace him with an even bigger star. Here's your explanation as to how it happened: Between movies, Tully had a terrible accident that forced him to have an incredible amount of reconstructive surgery. When he recovered from the surgery, he was a changed man: Tall, attractive, charismatic... and no longer afraid of no ghosts.

Green Lantern
Will Smith is...: Hal Jordan. Admit it; you thought I was going to say John Stewart, didn't you?
Why This Works: Smith takes on the role of ladykiller test pilot Jordan, the one man who can save the world through the power of his mind. It's the next step of Smith's Independence Day role, but with the added benefit of a lack of Jeff Goldblum's scientist hacker. Plus, who wouldn't want to see Smith in this role, besides the legion of fanboys who'd get upset that they didn't pick a white actor?

Wild Wild West 2
Will Smith is...: Captain James West.
Why This Works: ...Okay, maybe this is the exception that proves the rule. Never mind.

The creator creator allows you to design a unique look for your critter, and to pack it with attributes that will aid it in its quest for survival. A social animal will have to make friends and influence creatures. A herbivore can only eat fruit it can reach, and a predator can only feed on prey it can outrun or outfox and outfight. You can guess which path my Chlororaptor is designed to take.

Your critter's biology - the choices that you made while creating and upgrading your creature - will influence the culture that develops as your creature moves into the civilization phase of the game. Twitchy many-eyed herbivores built by nature to constantly search for and flee from trouble do not easily develop into Klingons. The game is likely to be more forgiving than evolution, but one can imagine a player sighing, "The appendix...what was I thinking?" You can also add my creatures to your games. Spore is kind enough to keep track of the statistics, giving me a chance to see how successful my voracious sack of algae tends to be.

Environment, change, and consequence aren't the whole story, but they are a pretty good introduction. As a teacher I've always been interested in entertainment that manages to educate without being obnoxious. If science is done entirely without a sense of play it ends up being wearisome and fruitless. And Spore isn't the only game to figure that out.

Programs like Folding@home use your home computer or Playstation 3 to process the dynamics of protein folding. Proteins are long chains of amino acids that are wadded together in specific ways. Fold them into the wrong shape, and at best you'll have a nonfunctional protein. At worst, you could be looking at the beginning of Alzheimer's. The math to describe protein folding is typically too much for a single computer to handle, but thousands of idle PS3s between games of Call of Duty 4 can do a lot of sums.

With apologies to the King of All Cosmos, this is how I imagine Folding@home on a PS3.

Foldit takes this approach a step further. Instead of taking advantage of computers, Foldit takes advantage of users. Teams of folders compete to produce the best 3D shape for a given protein. Human beings are good at manipulating 3D shapes and solving puzzles - computers aren't, or, at least, aren't yet. Given the rules of how different pieces of a protein will interact with one another, what likely shapes will it assume? Give a computer this problem and it will laboriously and ponderously churn its way to an answer that might be obvious to you or I (for a simple protein). Give the same computer the wrong algorithm or starting conditions, and you'll get nowhere fast.

Dr. Leeroy Jenkins prematurely rearranges a protein, much to the chagrin of his Foldit guild.

Games like this take advantage of what NYU digital studies professor Clay Shirky has called the cognitive surplus - the spare time to ponder and participate that technology and culture have been steadily generating ever since the human race moved past subsistence. Though some of the surplus ends up devoted to projects like Wikipedia, much of it is naturally expended creating and consuming art and entertainment. The amount of work required to appreciate entertainment varies, but many would argue that the complexity of popular television narratives has increased significantly. A good narrative is a puzzle with people in it, and requires a bit of that cognitive surplus to enjoy.

The alternate reality game I Love Bees tapped into that surplus with a vengeance. A beekeeper's website begins to display disjointed and enigmatic fragments of text. What follows is a complex narrative involving the Halo universe and an damaged artificial intelligence. Players were rewarded for solving puzzles given to them by the game team with a new clue or an advancement of the plot towards. In Why I Love Bees: A Case Study in Collective Intelligence Gaming, Dr. Jane McGonigal discusses how players - without prompting from the game team - naturally developed strategies for distributing workload and solving puzzles efficiently. Given a list of numbers that could be GPS coordinates, the mathematically inclined began working out alternate theories while the more physically adventurous (and geographically fortunate) began visiting locations and looking for commonalities. A relay puzzle required the communication of facts given to the players via payphone increasingly quickly to the next player at a distant payphone - one break in the chain, and that part of the narrative ends. Despite a scant 15-second pause from one call to the next during the most challenging part of the puzzle, the players never wavered. Another part of the game involved an artificial computer language, which the players were so successful at deciphering that, by the end of the game, the game team was using the player documentation to write hints.

Expert analysis of data, peer review, and the effective coordination of large groups in an emergency emerged in-game. These are talents that are useful for more than finding out what happened to a fictional bee fancier's web page. The energy, brilliance, and sheer bloody-mindedness of your gamers is a largely untapped resource. I imagine Final Fantasy minigames where players fold magical widgets into protein shapes for bonuses, or an alternate reality game where FEMA takes notes. Hybridize real problems with compelling narratives, and you may find that you and your guild inadvertently cured cancer.

Based on the Fall of Reach prequel novel, Beattie's script follows a soldier named John from his conscription into the USNC to his transformation into the Master Chief. Then we see the horrific first contact with the Covenant, leading to the fall of the USNC base on Reach, which only the Master Chief survives. Beattie also has sketched out the plots for two sequels. Now will Microsoft pay attention? [Latino Review, which swears this isn't an April Fools thing.]

Preuss, who is currently designing book covers for science fiction novels by Gene Wolf and others, says that this picture of the inner life of a halo world is actually a sequel to an image he created of the outside of the halo world a few years ago. He writes:

This time I wanted to show you how this giant ringworld could look from the inside and how a civilisation would live there.

Starblazers. Desslok, leader of the Gamilons, tried to crush the puny humans over and over again, but finally lost his empire. So in season two, he decided to take revenge on the crew of the Yamato, who defeated his ambitions. He finally catches up to them in an episode auspiciously titled "Desslok's Victory," and pounds them with his gunships. Then he surrounds the Yamato with magnetic mines before the humans can fire their famous Wave Motion Gun. And then taunts his adversaries mercilessly. "Go on, take a shot." Ha ha ha ha. (I know it's sacrilege, but I actually prefer this scene in the English dubbed version.)

Battlestar Galactica. It takes less than an episode for things to go south between the Galactica and the newly discovered Battlestar Pegasus. Admiral Cain decides to execute the Chief and Helo, leading to a tense confrontation complete with the whirly cam. Commander Adama shows why you don't mess with Galactica, with his terse "I'm getting my men" speaking volumes. And then the phone comes down, because the space battle is on.

Star Trek II: Wrath of Khan. Star Trek pretty much perfected the art of hailing-frequencies bravado, as early as "Balance of Terror"'s Romulan Sub-Commander Tal. "Your ship is surrounded, Captain. You will surrender immediately, or we will destroy you." With Kirk responding, "Save your threats. If you board this ship, I'll blow it up. You'll gain nothing." But Trek's masterpiece of comm-taunting has to be TWoK, where Kirk keeps needling Khan's poor marksmanship, until finally he lures him into a disabling nebula by laughing at his superior intellect. "We tried it once your way, Khan. Are you game for a rematch?" The script says: "Khan's eyes bulge." And they do.

Serenity. This one's a bit different. Chiwetel Ejiofor's Operative is mournful and regretful after he slaughters dozens (maybe hundreds) of innocents to get to Mal. But he still needles Mal via the viewscreen, suggesting that all the carnage is Mal's fault. And he's successful in goading Mal to take rash action — just not maybe the action he was hoping for.

Avengers #94, part of the Kree-Skrull War saga. The Skrull emperor appears on a view screen to warn the Avengers that the Kree warrior, Mar-Vell, is creating the ultimate weapon, an Omni-Wave Projector. And then when the humans don't respond to his threats fast enough, the emperor launches Plan Delta, which sends an all-consuming fireball spiralling towards Earth.

Farscape, "Die Me, Dichotomy." In the second season cliffhanger, Scorpius takes over Crichton's brain via a neural chip, and the mind-controlled Crichton tricks Aeryn into letting him go. She chases after his module in her Prowler, leading to a harsh exchange. Scorpius asks her how the skull fracture is doing, and she threatens to shoot him down. "Make no mistake." Scorpius/John replies: "I believe you'll pull the trigger. I just don't believe - you'll hit anything." And then he goes into a dive. Sadly, this is just a few moments before Aeryn takes her chair-dive into the frozen lake.

Halo 3, "The Crow's Nest" level. The Chief and Johnson reach the Command Center and start making plans to attack Truth's army, but then Truth appears on all screens and says: "You are, all of you, vermin. Cowering in the dirt, thinking...what, I wonder? That you might escape the coming fire? No! Your world will burn until its surface is but glass! And not even your Demon will live to creep, blackened, from its hole to mar the reflection of our passage; the culmination of our Journey. For your destruction is the will of the gods! And I? I AM their instrument!" Okay, so that's not a space battle. But I love that speech.

Galaxy Quest. Jason and Sarris have many great confrontations over the viewscreen, including the first one, where Jason thinks Sarris is just acting, and the second one, where Jason calls Sarris stupid and ugly because he thinks the sound is off. But the best, by far, is the final jaw-dropping confrontation. Sarris reminds Jason that he's a General, who's seen war and death that Jason can't imagine, and Sarris won't blink no matter what. (This scene is lengthier in the original script, actually.) But Jason retorts that it doesn't take a great actor to recognize a bad one, and Sarris is sweating. And then we get to the classic exchange, "You fool. What you fail to realize is that without your armor my ship will tear through yours like tissue paper." To which Jason responds: "Yeah. Well what you fail to realize is... I'm dragging mines."

Babylon 5, "Between The Darkness And The Light. We're totally embarrassed that we missed this crucial showdown between Earthforce and Susan Ivanova, and super grateful that commenters Michael and BcBeBop pointed it out to us. I am going to start calling myself "the right hand of vengeance" and "the boot up your ass" in the same breath now:

Doctor Who, "Bad Wolf." Another one we're embarrassed we missed originally. Thanks to commenter AspiringExpatriate for pointing it out! I love how Christopher Eccleston's Doctor is just like, "No." As if it's not even worth arguing. It mirrors his awesome "No" in "The Long Game" when The Editor asks that long-winded philosophical question about whether a slave is still a slave if he doesn't know he's a a slave. I have to admit, every time I watch this scene I wonder why the Daleks don't just say, "Okay then," and exterminate Rose right then and there.

So what classic space talk-downs did we miss? Feel free to let us know in the comments, but only in the most trash-talking, mouth-running, space-taunting way possible. You fools! We're laughing at your superior intellects.

Between the resin models of battle-damaged Vipers from Battlestar Galactica, and the recreations of Mego's awesome Star Trek line of action figures from 1974, there's a lot to love here. But the two things that really look ridiculously cool are the Poseable 12" Sleestak Coin Bank that would look awesome right next to our io9 supercomputer (and is on sale already), and this incredibly bizarre Mola Ram Munny from Indiana Jones and the Temple of Doom. Just check out the gleeful expression on his face and the flaming heart accessory he comes with. Pure plastic joy.

There's also a 12" Master Chief figure from Halo that comes with all sorts of goodies, and a complete set of 13" Green Lantern Corps figures that look pretty darn cool. There's also a slew of posed Cloverfield figure photos that look loads better than Hasbro's lame pictures. So, we might just keep that preorder, just in case.

For even more photos, be sure to check out Figures.com, where it seems like they have endless amounts of image galleries and coverage from the show floor. And thanks to our very own 92BuickLeSabre for snapping some the photos in our gallery as well, especially that Sleestak bank. Start asking them for kickbacks.

David Drake says that the genre of military SF contracted in the late 1990s, due to too many "opportunists" jumping into the genre, and the downsizing of the U.S. military.

I freely admit to being one of those who opportunistically jumped into the genre: I wrote Old Man's War in no small part because I walked into a bookstore in late 2000, saw lots of milSF (including books by what I called the "Three Davids" — Drake, Feintuch and Weber), and said "well, I guess I'll try writing that, then." But since OMW wasn't published until 2005, I can't be blamed for anything that happened before then. Not my fault, dude.

Do you think that the genre has rebounded since then?

My impression at the moment is that military science fiction is doing fine; the sales of the sub-genre are brisk relative to most other SF sub-genres, especially if you expand "milSF" to include the Halo series of books, which are pretty much outselling everything else in SF at the moment (give or take a Star Wars tie-in). We're all still getting our clocks cleaned by fantasy, but that's par for the course these days. But in SF, milSF is chugging along fine.

Is the audience for books like Old Man's War the same as the people who were reading Drake's books in the early 90s?

I'm sure there's overlap; from what we know of OMW's audience it contains a fairly wide spectrum of readers. I'm pretty sure I and David Drake (then and now) share some readers.

Now, if we grant that the Halo books qualify as milSF (which I think we should), I doubt that there's much overlap there at all, since in the early 90s the people who are reading the Halo books today were, like, five. What Drake and other milSF folks can hope for in that case is that the readers of the Halo books do a little stretching and try other books of a milSF bent (i.e., "Hey, this doesn't have Master Chief in it, but it still might be cool.")

Bungie writing director Joseph Stattten oversees all of the writing that goes on for the games that the studio pumps out, and he has a deep knowledge of the storylines as a result. When he was asked if fans would want to see the always armored Master Chief's face in the oft-delayed Halo feature film, he said

I think what it boiled down to with the film was really a question of "Who is the main character of the movie?" Is it the Master Chief or is it somebody else? And over time I think everybody around the table agreed that the Master Chief is best left as the most important supporting cast member.

Where the Master Chief doesn't have a face, but he has a whole body to emote with, whether it's his spine, or his shoulders. or the tilt of his head, or the way he slumps or reloads his weapon. There are these kinesthetic responses that he'll have which will really easily communicate the character and what he's feeling.

Interview with Bungie's Joseph Staten [Newsweek]

Halo Wars takes place before the first game in the series, Halo: Combat Evolved, when the war with the alien Covenant was just beginning to break out. Set in the year 2531, the United Nations Space Command has colonies spread throughout the galaxy, turning previously barren planets into thriving communities. However, once the war breaks out people start fleeing in terror from the onslaught of the Covenant. Artist Jason Merck from Ensemble Studios makes it clear in this concept art of a group of people with bags packed and sporting warning signs in the background that it might be high time for a change of scenery. Either they've just arrived, are waiting on some sort of a hovertrain to take them away, or maybe they're watching a battle unfold in the sky.

Sadly, by the beginning of the gaming series 21 year later, most of these colonies have been lost, which means these poor painted people probably didn't survive. Check out more concept art from this upcoming game in the gallery and keep your bags packed for a quick exit.

• Half-Life: The original Half-Life came out in 1998, and it's sequel Half-Life 2 came out in 2004. The extremely popular game has spawned numerous "mini-sequels," including Half-Life 2: Episode 1 and Episode 2, and the spinoff title Portal.

  In the game, you play Dr. Gordon Freeman, a scientist who unwittingly tears open a dimensional portal during a routine experiment at a facility in the Black Mesa Research Facility in New Mexico. Aliens begin pouring through the newly opened portal, and you find yourself both the target of these creatures, and of government forces who are trying to hush up the incident. You end up surviving (the sequels wouldn't make much sense otherwise) and things get continually worse. By the time Half-Life 2 begins, the Earth has been changed into a dystopian world that is slowly being de-terraformed into a wasteland. Oceans are being drained, buildings taken apart, and the place is full of both alien and humanoid forces who want to have your liver for dinner.

• 
  
• Halo: Halo 3 came out in September, to massively sales and fanboys complaining that it just "wasn't enough," but developer Bungie has created a fully realized universe within in the game.

  Halo takes place in the distant future where the human race is in the middle of a bitter war with an alien race called The Covenant. You play "Master Chief," a genetically engineered supersoldier (called a Spartan) who dons battle armor and serves as humanity's last hope. As the game progresses, you discover that the Covenant have found a giant ring-like object (a Halo) left behind by an ancient alien race called The Forerunners. If activated, the Halo will act as a deadly weapon, able to destroy entire planets. Much like Luke destroying the Death Star, you have to destroy the Halo and make sure the Covenant don't win. The Earth in Halo is brutally invaded by the Covenant, where they lay waste to entire continents with massive weapons, turning all of the land into glass. Cities have become battlefields, and most of the citizens have been wiped out, or are in deep hiding. It's not a pretty site when you see nukes going off all over the planet, and it's even less pretty when you have to go down there. Even if you manage to save the world, it's going to look like a wasteland when you're done.

• 
  
• BioShock: One of the most imaginative games to come along in years isn't set in the future at all, but in a bizarre undersea city that re-imagines the future of the past, and combines a steampunk science fiction approach with genetic modification technology.

  In BioShock the game controls Jack, a passenger aboard a plane in 1960. Disaster strikes and the plane plummets into the ocean, killing everyone aboard except you. You swim to a nearby tower poking out of the dark waters, and inside find a bathysphere that takes into Rapture, a full-sized city built secretly on the ocean floor in 1946. Through a series of audio recordings and newsreel style videos, you're shown how meglomaniacal millionaire Andrew Ryan built the city to get away from what he saw as the oppressive rules of government and religion. He envisioned Rapture as an undersea utopia, but it didn't take long for things to unravel. By the time Jack arrives in the city, it's clear that the place is falling apart, and most of the popular are dead. The only remaining inhabitants are "Splicers," genetically mutated humans who are murderous and insane, and a few human holdouts who have barricaded themselves into the few remaining safe places in the city. You become trapped in a battle between the leader of the black market, Atlas, and the insane Ryan himself. As the game progresses, you acquire raw genetic material that you can use at upgrade stations to modify your genetic template, meaning you can give yourself telekinesis, the ability to turn invisible, or the power to shoot flames from your hands. It's sort of like having Heroes on tap. You come to appreciate the beautiful disaster that Rapture has become, with the sea attempting to overtake the city that has become trapped in time.

• 
  
  
• Portal: Strictly speaking, Portal was meant to be a small one-note spinoff set in the Half-Life universe featuring a small game called Narbacular Drop that Half-Life developer Valve had acquired. It was included in The Orange Box, a game set Valve released last month that included Half-Life 2, Episode 1, Episode 2 and Portal. Portal has overwhelmingly been the smash hit of that set.

  In Portal you play Chell, a female test subject for Aperture Science, Inc. (a company in the Half-Life universe) who wakes up inside a gigantic maze and coached (or tortured, depending on your views) by an artificial intelligence called GLaDOS (Genetic Lifeform and Disk Operating System). GLaDOS puts you through a series of testing chambers designed to help you learn how to use the "Portal" gun, which can create entrace and exit wormhole portals on walls, ceilings, and floors. Each chamber challenges you further with increasingly hard puzzles that you have to solve using the Portal gun in order to escape. As the game goes on, you notice that GLaDOS is a bit off her rocker, and all of the human observation posts are empty. In fact, she starts promising that cake will be waiting for you if you can complete the test course. Later you're able to slip behind the scenes and find some graffiti from a previous test subject telling you that the cake is a lie. Although if you finish the game, you find out that she might not have been lying all along. It's all immortalized in a song that GLaDOS sings you over the closing credits, which you can watch below.

• 
  

Probably the big book of the week is IDW's Angel: After The Fall #1, which follows in the footsteps of Dark Horse's Buffy The Vampire Slayer Season Eight in letting Joss Whedon himself (co-writing with Brian Lynch, with art by Franco Urru) tell you what happened after the cancellation of the Angel TV series. You can learn more about it here, if you're so inclined.

Other multi-media crossover books this week include Marvel Comics' Iron Man: Director of SHIELD Annual #1 - written by Law and Order's Christos Gage - and Incredible Hulk #111 - written by io9 favorite Greg Pak - laying the groundwork for next year's big summer blockbuster movies. If you're more of a video game person, then Image Comics' Dark Sector #0 might be your thing if you're the kind of person who wonders where your black ops avatar got his super-powers ahead of the game's release at the start of next year. Alternatively, you could pick up the long-delayed second issue of Marvel's adaptation of the Halo franchise, Halo: Uprising, which manages to make it into stores only two months late. Hey, space carnage takes time.

If alien war is your thing, then Marvel are also putting out the third collection of their Annihilation series, in which bug-like aliens decimate various alien planets while space-bound superheroes get their asses kicked trying to stop them (Imagine Star Wars meets X-Men, but with more death). There's an interlude of Earth War in DC Comics' very enjoyable 52 Volume 4, but you might miss it in between the other moments of sci-fi genius (Parallel earths! An island populated by mad scientists doing the bidding of a giant evil talking egg!). Equally idea-packed from DC is Jack Kirby's Fourth World Omnibus Volume 3, which takes you into the last half of the inspiration for the successful part of George Lucas's career.

My pick of the week, however, would be Casanova #11. Matt Fraction's post-post-modern mash-up of every spy movie, science-fiction book and superhero comic ever made continues to amuse and delight with every new issue, and this latest chapter promises no change. How could anyone resist this come-on?

Her name is Suki Boutique, and she runs the most powerful and glamorous criminal casino on Earth. Through her bank flows the countless illicit fortunes that keeps the underworld turning on its axis. Through her doors pass a veritable who's who of fabulous supercrime. And tonight, Zephyr Quinn has come to collect a bounty. Has she met her match?

Angel image courtesy of IDW Publishing, Casanova image courtesy of Image Comics