Finally. It's been years since the second issue of this inventive limited series was released, and the long wait for this conclusion has been a little frustrating. To my surprise and pleasure, Ellis offers up a thoroughly accessible final issue. One needn't bone up on the previous two issues in order to follow along here at all. Even those who never even heard of this title would be well advised to pick up this final issue. It holds up well on its own with its exploration of the notion that greatness comes at a great cost, and the artwork alone is worth the price of admission. It's not often one can say a comic book was worth a wait of this length of time, but this is one such occasion.
Sir John, the founder of England's space program, is summoned to the Ministry of Space's orbital base to answer some uncomfortable questions. The United States is ready to launch its own spaceship, and the Americans have found a way to force the Brits to allow them to reach out into space. They've learned how Sir John got the Ministry of Space off of the ground in the first place, and it's a secret of such magnitude that it promises to shatter the very foundation of British prosperity and pride. As he sits before officials who once answered to him, Sir John reflects back on the triumphs and tragedies of the program over the years.
Ellis brings a lifelong dream of ambition, imagination and sheer determination to life in an alternate history that eclipses anything the real world has to offer. What's most impressive about it, though, is the sheer plausibility of it all. Everything Ellis puts forward here in this fiction comes off as quite possible, even attainable. Ultimately, this story isn't about England's venture into the stars, but rather the will of the man who makes it all happen.
The only thing more impressive than the writing here is Chris Weston's meticulously detailed artwork. He brings non-existent spacecraft and science to life here, making it seem all too real. His vision of space travel is just like what we've seen in real life. It's not about sleek, cool space jets, but bulky and ugly machinery that emphasizes function over aesthetics. Wonder and realism converge in a delightful and impressive manner here. Ellis's imagined history wouldn't be nearly as effective without Weston's contribution here. Laura Martin is no slouch either, mind you, bringing texture and energy to the linework.
Accomplishment and greatness are wonderful things, but as America has learned over the years, they comes with a price. It costs lives, yes, but more importantly, it costs innocence, it costs principles. There's a wonderfully dichotomous tone of cynicism and celebration that envelops this story.
