The arc so far has been nothing short of amazing. Incredible action, stunning artwork, compelling plot twists, and a scope so big that this may affect the team for a very long time to come, even more so than "Forever Evil" did two years ago.
This issue sees two major changes occur before the book even starts: the first is that we're headed into the second part of the not-so-aptly-named-anymore "Darkseid War," and the second is that we've switched artists from Jason Fabok, who was absolutely killing it, to Francis Manapul, whose art we shall get into later on in the review.
For starters, obviously, this book has an incredible beginning. Its first two pages are dark, dreary, with the first major image we see being the haunting Omega symbol Darkseid is known for, now bloodied, dripping down the page.
Oh, and then, you know, the remaining parts of the Justice League (plus Mr. Miracle and Steve Trevor) after they've been scattered for so long in a very well-done two-page spread, with our heroes in the background utterly baffled that this would happen, while Darkseid's corpse lay in the foreground.
In a way, it's kind of haunting. Darkseid, the one who has driven the Multiverse itself to madness, the one who pillaged Earth-2 and drove them hear in Futures End, has died. And they don't mess around with that, either. He's gone. Dead. Forever. Grail's wishes have been granted. What I like most about this image is that it almost seems like the team is mourning him. They all just stand there, nobody's cheering, nobody's singing praises that he's dead. Even Mr. Miracle, now free of Darkseid's clutches after so long, stands closest to him in his final moments. Manapul's art in these early pages works wonders to get us into this new leg of the story.
Or, perhaps they aren't mourning because they've read ahead in the script and know that they're pretty much screwed moving forward. One reason indicating that is that the Flash has permanently merged with Black Racer. And just to compound that little thought, even Mr. Miracle, who always knows an escape from any situation, says he wouldn't even be able to break the bondage the Anti-Monitor has imbued between Black Racer and Flash (last issue he forced the two of them together after Darkseid summoned Black Racer, before Anti-Monitor turned the Flash against Darkseid and killed him).
Though, this does lead to an interesting development for the Flash. He isn't totally corrupt, and at first he seems confused and innocent about the situation, until he comes to realize his power and that he wants to be able to control death, and not escape this power. While there are other heroes who would have also fit this, considering how many of them have died, I find it interesting that Barry Allen of all would be the one stuck with this. Barry has indeed outrun death. But now that he is death, can he outrun himself? We'll see soon that may be the case, as there may be more to Black Racer Flash, now known as the God of Death.
Back on Apokolips, Nega-Superman and Lex Luthor continue their squabble, where Superman has fully enveloped his powers and knows he can no longer hold anything back. Essentially, he has become what Lex Luthor always touted he was: an incorruptible alien monster bent solely on destruction, with no shred of humanity in him.
Superman, now the God of Strength, leaves Luthor for dead on Apokolips after shredding apart his armor, only to be later spotted by some natives.
Back in the Anti-Matter universe, Batman, in the Mobius Chair still, and Green Lantern discuss just what the heck is supposed to happen next with Darkseid gone. Batman, the God of Knowledge (like he wasn't already?) realizes that Parademons are now going to start attacking Oa, and that Green Lantern needs to get there now, as Batman leaves for Gotham, to finally be the hero it deserves. Yay Batman!
Once we cut back to Luthor is where I feel things with the art are kind of iffy. Maybe it's just because I've grown used to seeing Jason Fabok on the book, but I'm not too big a fan of the grainy look we're given from now on compared to the harder, more solidified art Fabok had. Manapul's art is fine, but it's not really something I expect from the Justice League title. It fits the environment, sure, but not the grandiose that is the Anti-Matter Universe or back on Earth. It doesn't have the same appeal.
Anyway, Luthor runs into Ardora, a leader of a group of, probably, former slaves of Apokolips. Here we get a bit of a story set back stating that there was a prophecy made by, guess who, a blind prophet that a human would walk Apokolips following Darkseid's death and all would change. The neat twist, though? The prophecy was about an orphaned boy from Metropolis raised on a farm, and is essentially the embodiment of truth and justice...and maybe even the American Way. Hmm, that sounds familiar...
Buuuuuuut, instead, Luthor lies to them all, and says, "Yup, that's me. I'm the new truth, justice, and American way, home-boys!"
Back on Earth, Racer-Flash states that without death, pretty much none of them would be who they are. That death is a major part of them now. Fair point. Most of these characters have experienced death in some capacity and have come back stronger for it. Though, there is a clear divide here, as the Black Racer begins to be speaking more than the balanced mind of Barry Allen. Here we see that Barry is still holding onto a fraction of his humanity while Black Racer tries to completely take over, and the Flash zips away, trying to outrun death.
Spooky.
Shazam says they should go after him until many different voices begin speaking in his head, until one finally chimes clear, saying that the New Gods call to him, and he flies off. Man, this is getting intense! The League is just down to three main members on Earth (and Steve Trevor)! Hopefully they have a minute to breathe...
Ha. Nope. Darkseid's family arrives, and seeing that the League is right by his dead body, it doesn't paint a pretty picture, and they all prepare for battle.
Spooky.
Luthor, back on Apokolips, is hooked up to a giant machine that looks suspiciously like something Brainiac would make (do it, Johns, DO IT). Ardora informs Luthor that Darkseid's death has led to something known as the Omega Effect being released throughout the universe, and that it is headed straight for Apokolips. Luthor, as the prophecy states, will contain it, his body serving as a vessel.
It all rains down on Luthor, and there's a slightly confusing bit where I'm not sure if Grail and her mother are on Earth or Apokolips--I would assume Apokolips given where we last saw her, but the building structure looks like Earth/ how the heck would Grail get to Apokolips in such a short time?--but either way, they are watching the rebirth of Mobius, as the Anti-Monitor vanished and nobody knew what happened to him. We're left to assume that, basically, Luthor is morphing into him, but it's confusing. How is he turning into Mobius? Why is he turning into Mobius if this effect was something from Darkseid's body?
Either way, the comic ends with Luthor standing tall, with a brand new green body (like Brainiac), and we are informed that Lex Luthor is now the God of Apokolips.
Spooky.
This comic leaves as big an open-ending as the first part of the arc did. Things are in great disarray and nobody knows what the heck is going on anymore. I have a feeling the script doesn't either. I'm worried that with so many scattered heroes now it'll be tough for them all to come back together for a big throw down. There are many new, interesting turn of events, though. The Flash is trying to outrun, basically, himself. Shazam split to go hang with the New Gods. Green Lantern's going to Oa, Batman's back in Gotham, the Justice League is about to square off with what's left of Darkseid's forces, and Lex Luthor rules a world. Hmm.
The artwork by Manapul was great at first but teetered to just okay, for me. It's not really my favorite style, but I also just think it doesn't work too well, particularly with the scenes on Apokolips, they're too grainy and edgy for me. It doens't feel particularly powerful, I don't get a worried sense like I did when Fabok had Nega-Superman first emerge, or when Racer-Flash plowed through Darkseid.
Still, though, I don't hate it, and I haven't given up on it. The art may win me over yet. As for the story? You best bet I'm as excited as ever to see where this takes us. This was another great issue in the "Darkseid War" arc, serving as a great first glimpse into the new Act we've entered.
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