This issue, KISS Solo focuses on Tommy Thayer’s character, the Celestial. Continuing the pattern of alternating writers, Chris Ryall takes over this month from Tom Waltz, while Alan Robinson handles the art. Here’s the official description from IDW:

“Fractured Mirror”—the penultimate KISS SOLO issue turns the spotlight on the Celestial. This tale of galaxy-spanning high adventure sees the most spaced-out of the Four-Who-Are-One caught up in a battle against twisted alien pirates and… himself…? The odds are long and the stakes high in this standalone, spare-faring story!

The writing this issue creates some interesting contrasts, especially when compared to the rest of the series. The narration speaks to us more frankly than usual, calling the group “KISS” outright, rather than the standard “Four-Who-Are-One.” The character of the Celestial himself is also written oddly. He’s much more laid back than we’ve seen elsewhere in the series, a trait that seems even stranger when we’re told that he has more trouble than the others when it comes to understanding humanity.Most significantly, this just doesn’t feel like a KISS book. Rather than fighting malevolent spirits or stopping an intergalactic war, it boils down to a bar fight, perhaps with a little heist movie flavor thrown in. The bar scenes are probably the best in the book, with a definite Mos Eisley Cantina feel, and a not-too-subtle (but awesome) Lobo cameo thrown in.

Alan Robinson’s art is brilliant. The detail is evenly balanced on the figures and background, which are suitably exotic, given the space bar (heh) locale. The layouts and creature designs vary widely (in a good way) and the latter inject even more humor into the story. The main villain, a humanoid tyrannosaurus with both an eyepatch and a pegleg, manages to be both amusing and intimidating at once. Robinson give the Celestial a rubber-faced quality that fits perfectly with the story, even if it’s counter to the series as a whole.

KISS Solo #3 isn’t bad. In fact, it’s great. But it’s completely different from every other KISS book (many of which were also written by Ryall) we’ve seen over the last year, to the point that feels like a completely different series. I appreciate the change, but I have to wonder if it represents a new direction, or merely a temporary shift.

4/5