The story of King Ziusudra of Sumeria is mankind's oldest flood story and forms the anchor for many of the interwoven parts. The thoughtful King Ziusudra remains awake for seven days of the flood while his people sleep aboard his arc, pondering whether his construction of the arc after hearing the voice of God through a crack in a wall was in fact the action of a sane man. Visions haunt his thoughts, of Noah and his sons and the impending biblical flood; of a modern-day environmentalist as she fears for the safety of her estranged husband and daughter at the outset of Hurricane Katrina; an Arnhem-land dreamtime story of the rainbow serpent and his flood in which two orphaned sons are left to die by an uncaring man; of a pair of brothers in pre-European South America who take refuge in a tree after their feud causes the earth to flood; of a Chinese brother and sister atop a mountain, who, completely alone in the world, wish to marry but first ask the gods for a sign.

By examining and comparing the parallels and the key differences in each story, there's a strange kind of human truth exposed in the combination. Loneliness, fear, sanity, uncertainty and faith - each culture seems to wait for a sign from God before acting. Lewis gives no special significance to any one story, all are equally valued and ‘true' in the context of this story despite their difference in history and detail. In Some New Kind of Slaughter, stories are linked by emotion and thematic content, simultaneously addressing small parts of each tale individually but affecting both an intellectual analysis and a rhythmical raw human reaction. Although this issue does depict scenes of the flood in some of the stories (and takes place mid-flood for Ziusudra), it generally seems to set up the opening scenes of many of the legends, including the initial uncertainties and the shocking moments of divine interference (the ‘sign' of the approaching disaster) which appears to happen simultaneously to all of the characters. In later issues, other tales will be shown, and the overall series will likely grow as it moves from the start of the floods, to their peaks, and to their eventual resolution and effect on the survivors.

mpMann's artwork throughout is deceptively cartoonish, so as to quickly set the scene and allow the subconscious effect of the story take place rather than relying on elaborately rendered settings or characters. Despite the lack of detailed artwork, there are some truly gorgeous scenes (particularly the opening renderings of the turtles and giants' legs, the scenes of the lively un-named city in which Noah and his sons live, and the last panels of Noah's face in close-up). The colouring is European in its application, predominantly flat with softly highlighted shades, each scene subconsciously identifying itself with an instantly recognisable yet subtle colour-scheme. At all times, the artwork is dignified and suitably low-key, never needlessly garish or showy, while the actual line-work and character style does subtly change between scenes.

There is something unusual in the book's form however. Its major weakness is its lack of an immediately visible traditional story, something which will no doubt scare away many potential readers, especially those who prefer a more casual comic-book which does not require as much reader involvement. Readers who are interested in the way stories of wildly different origins can evolve yet still speak of certain human constants will appreciate this book, as will those who are fascinated by the differences and similarities between cultures over distance and time. It remains to see how the overall story will flesh out and evolve over the next three issues, or where exactly it is all going. The first issue, although initially daunting in its concept and demand for reader involvement, is a good start to the mini-series, but the next three will tell if this is actually a story worth telling and greater than the sum of its parts.

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