Everything is relative. - Albert Einstein

This volume contains a complete story, published in 2014, without prior serialization in the form of an album. The story was written and drawn by Jim Starlin (the creator of Thanos), inked by Andy Smith, with a color setting of Frank Armata, assisted by Rachelle Rosenberg. It enjoys an introduction of a penetrating page, written by Douglas Wolk, a journalist for the New York Times, Time magazine and others.

The story begins with the creation of the universe from a white nothingness (on 1 page), followed by a discussion between the characters embody eternity, infinity and the Living Tribunal. The next scene shows Thanos slumped in his chair, a trickle of drool on his lips, to his ship Sanctuary IV. He felt an imbalance in the state of the universe, but failed to identify the nature or source. He projected his image on the ship of the Guardians of the Galaxy, to inquire if Drax perceives this same offset. Then he goes to the field of death to see the well of the inifinite loop (Infinity well). It is clear from this brief stay in its field, with an index on objects for this condition, and a disembodied person that follows it.

In 2012, the sequence after the credits of the film shows a purple Avengers individual burly: Thanos. This sudden notoriety led Marvel to repeat the most significant narratives in which this character appears, as well as editorial renew relations with his creator Jim Starlin (although Marvel owns the intellectual property rights of Thanos). The player then takes advantage of a series of reissues treated, from first appearances of the character (Avengers vs. Thanos) until Infinity Abyss (2002), through the inevitable Infinity Gauntlet (1991), without forgetting Marvel universe : the end (2003).

Another benefit: Marvel officials order a new history of Thanos to Starlin, certainly in the framework of preventive agreement to offer him a form of recognition (if not compensation) because it is the creator of the character ( It is better for the brand image of the Marvel company that the author is satisfied with his lot, rather he pours on the lack of consideration through social networks).

From the first sequence, the reader finds that Starlin is in top form, and equal to itself. The cosmic framework is laid with the evocation of the birth of the universe (although the question about her age makes its beginning as it does not take into account the most recent work of astronomers like Stephen Hawking). In the second sequence, Thanos appears massive, towering over his chair and already implement a strategy stating that it has several steps ahead of everyone.

As in previous stories dedicated to Thanos, Jim Starlin model stands out as an employee. He has done his homework, and research, stating repeatedly continuity into force in 2014, be it for the guardians of the galaxy (where he highlights Drax and the duo formed by Featured Rocket Raccoon & Groot ), the small interest of continuity linked to the resurgence of Thanos (without explanation) after her disappearance during The Thanos imperative, or the existence of cosmic clash of annihilators team, created by Dan Abnett and Andy Lanning.

As in previous stories dedicated to Thanos, Adam Warlock Jim Starlin integrates history, these two characters embody a change of yin and yang. As usual, the player said Starlin gives a little ease by repeating the usual pattern of stories Infinity stamped by his two favorite characters interact. As usual, playing "Infinity revelation" premium product first a strange feeling, a mix a bit of a quest to hit an object of unknown power, with a risk scale of existence of the universe, and physical fights parachuted to fulfill the contractual quota, leading to a metaphysical sequence relative to the whole range.

Although not Starlin ink itself, it is visible that it took time to refine his drawings. To begin, he finally invested in a computer graphics software that date less than 15 years and the special effects are less ridiculous than his previous work (or so he delegated the task to perform backgrounds computer graphics to 2 directors color). Then it is evident that he uses regularly to the shortcut of locating a scene in a desert place to save on decorations, but it handles the surface of the box so as to occupy most. Thus the density of visual information remains satisfactory. Finally when the sequence requires it, he can make detailed settings that allow the reader to immerse themselves in the place described.

On the surface, the reader enjoys reading a cosmic kind of superhero story, with some surprise guests to good use and the risk of the destruction of all reality. To look more ready, from page 4, the reader is pleased to see that Starlin enhances his account of self-deprecating few discreet buttons showing that does not take itself too seriously. It starts with the first image of Thanos, with the small trickle of drool at the corner of the mouth like any sleepy user of public transport. In the following sequence (on the ship guardians of the galaxy), now the costume Drax fluctuates, ranging from simple trousers with large red tattoos, his old purple suit. Thanos will also discuss the different outfits Adam Warlock through the ages.

Arrived in the middle of the story, Warlock and Thanos review the actions of the latter evoking everything (including Akhenaten) whether stories written by Starlin or other (Starlin not hesitating to scratching other scriptwriters who wrote the character without respecting his psychological profile), Warlock mocking Thanos for its propensity to beat the superhero rather than discuss with them. This again offers a sequence during which soundly beat Thanos few superheroes (the annihilators) for well remember that they do not hold a candle to Thanos who is above the fray.

While the end may leave a taste of incomprehension first degree, on reflection, Starlin is used as a metaphor to relativize the importance of continuity and change psychology of the characters handled by successive screenwriters. Starlin looks appeased the distortions of continuity (if not inconsistencies), indicating that what matters in the end, it is above all the intrinsic qualities of character that the Creator has instilled him. He even convincingly justify the return to the status quo and need for recurring fictional characters: a beautiful declaration of love to the medium of comics, a beautiful acceptance of humiliations suffered recurring fictional characters who pass the hands successive authors.