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There's a new comicbook publisher in town — Speakeasy Comics. Its first titles comprise The Grimoire, Hero and Atomika, with Beowulf following in April 2005.

In Atomika, there is a new god in town. After the Russian Revolution and civil war that followed, the Bolsheviks gradually solidified control over the Russian people while simultaneously attempting to jump-start the country into the industrial revolution. Big

"If they truly wanted to replace the old gods, they would have to create a deity of their own. One that would serve only the state."

government projects kept the people busy while the Bolsheviks moved forward with their social agenda attempting to further secure their hold on power. This included doing away with religion as a competing source of authority, or at least co-opting both the Orthodox Church and the pagan gods.

The narrator of this tale looks back to when he was a young boy during this time of change. He discovers that all things spiritual in Russia have not been obliterated. In fact, the State has been embodied in a living spirit served by the pagan gods. The narrator's own roots, he finds, are different than those of the average human — and it is this difference that causes the State to seek him out and transform him into its own agent. Technology and spirituality are forged together to create Atomika.

That is the origin of the thus-far nameless super-empowered being. His mission, it is apparent, is to further secure the government's control over its people. Will he become an operative of evil or good? Will he serve or rebel?

As a first issue, Atomika #1 succeeds in whetting our appetite. The writing is majestic and poetic. The story seems highly metaphorical and in places feels like a dream because of the lack of connecting events that expand from the central storyline. But this concentration on the protagonist keeps you enthralled and helps create sympathy for him. One curious feature is that the narrator, as a boy, speaks French instead of Russian. Perhaps that is because the aristocracy spoke French, but that isn't explained in the book.

The dark tones, predominantly red, dark red and brown red, adequately match the mood of the tale. The art, and specifically the layout in many panels, evokes Jack Kirby, and the creators actually thank him and John Buscema. One panel looks very Gerald Scarfe-like, complete with giant hammers from a very low perspective. Another two-page spread resembles Steve Ditko's renditions of interdimensional planes. But despite the eclectic nature of possible influences and homages, the art is consistent, bold and powerful.

I am pleased to see another comicbook this year dealing with Communist Russia. Aren't we tired of seeing Nazis as bad guys all the time? And using Soviet Communists as a foil is more relevant, since the Nazis only held power for a decade, while the Soviets ruled for 75 years. But it remains to be seen how the author will tread politically, if at all.