The Invisibles hits an early peak with this collection, which features issues 9-16 of the series' first volume. It kicks off in slightly arbitrary fashion with 23: Things Fall Apart, which surely would have been more comfortable nestling up at the end of Say You Want A Revolution as a coda to the Arcadia story-arc reprinted there.
Still, beginnings as endings is a recurring theme throughout the series so it's just possible that the editors in charge of the Invisibles' release in graphic novel format are less incompetant and insane than the books' slapdash release schedule would seem to indicate.
Even this early in the title's run Grant Morrison is already going out of his way to shade our perception of the story and its protagonists, sowing seeds that will only grow to full bloom a year or more down the road. This can be seen first in the characters' varying reactions to the bloodbath of the opening issue, but it's telling that Morrison is willing to take (almost) an entire issue away from his main characters to continue the process, resulting in one of the best, most innovative stories of the entire series - the elegant, borderline-heartbreaking Best Man Fall.
From that high (or possibly low) we're immediately picked up and pitched straight into another. The She-Man arc is an example of that rarest of comic-book beasts - a back-story that actually serves to make the character involved more interesting. It helps of course that the character in question is the dazzling Lord Fanny ("I'm an international freedom fighter AND a photogenic witch, darling. I'm the most glamerous creature you'll ever meet!") and helps even more that the immensely talented Jill Thompson is on pencilling duty, but the net result is a story of initiation that's both brutal and - no pun intended - magical. Oh, and for good measure it concludes with the biggest, sheerest cliffhanger of the series so far, one that'll have any sane person scrabbling to get hold of Entropy In The UK, the collection that concludes Volume 1.
Throw in the always-fun Jim Crow making his scholck-horror debut, Jack/Dane trying (and mostly failing) to come to terms with his new place in the world, and a couple of absolutely belting covers and all in all you've got what is, despite strong competition, probably my favourite Invisibles graphic novel.
Plus it's got the best title of anything, ever. This isn't even open for debate.