For consistent, high quality volume of work, P. Craig Russell is among a small cadre of comics' finest creators whose work is marked with beauty, intensity, and integrity. Over the course of his career, Russell has returned time and again to the adaptation of the timeless epics and stories of literature and stage. For every Batman, there is an adaptation of The Fairy Tales of Oscar Wilde. For every Dr. Strange, Star Wars, or The Sandman, there is an adaptation of Elric, or the operas of Mozart, Mahler, and Wagner.

Hold on a second. Did he just say operas?

Upon reflection, opera and comics are not that far apart. Both feature exaggerated settings, characters, and actions. In order to reach out to the largest possible audience, both artforms utilize simplicity and invite audience participation in the visualization of the story: a comic invites readers to imagine the lives of characters between the panels. An opera invites viewers to take the broad swaths of background color and imagine the ramparts of Valhalla.

In February, P. Craig Russell's adaptation of Richard Wagner's The Ring of the Nibelung begins with the first story arc, The Rhinegold. Wagner's opus is nothing less than the ultimate heroic epic, including everything from the birth of the universe, through the rise and fall of gods, to the very end of time. As P. Craig Russell sees it, there is no better medium to capture such a universal epic; indeed, he sees the very birth of the modern superhero myth within the pantheon of the Norse Gods. Besides having super powers, Voton, Donner, Freia, and Logé have problems: others who desire their power. Others who fear their power. Love. Hatred. Jealousy. Betrayal. Monumental failures . . . and staggering achievements.

P. Craig Russell's The Ring of the Nibelung is going to open many eyes. Wide open. That's what beauty, intensity, and integrity do.

-Peet Janes, editor