As a longtime DC reader, it was a real treat to see such a variety of characters from the publisher's stable of diverse and colorful characters. And as a big fan of Crisis on Infinite Earths, it was fun to see elements from that classic crossover story return in this sequel title. But after seven issues, several tie-ins, one-shots and limited series, I have to wonder... what was the point? We're given little indication as to how the DC Universe has really changed from the beginning of Infinite Crisis, save for the fact that the publisher's most iconic characters are friends again. The metatextual point of the series seemed to be the need for the genre to brighten once again after so many years of mature and grim storytelling. But there's no sign of that either. The inconsistency of the art and the clear corner-cutting are distracting as one reads this final issue as well. It's ironic that a story in which one of the villains sought a new Big Bang ended so weakly.
Alexander Luthor of Earth-3 has unleashed a legion of villains upon the world in a mad attempt to create a perfect world. The Superboy of Earth-Prime seeks a perfect world as well, and he figures a new Big Bang ought to do the trick, leaving him as the sole survivor in a universe to mold as he sees fit. That leaves the heroes with a lot of challenges to face, but with the Superman of Earth-2, a mysterious new Flash and the freed heroes who served as conduits in Luthor's dimensional tuning fork, they may just have a chance. A slim chance, but a chance nonetheless.
The double-page splash on pages two and three tell the reader all s/he needs to know about what to expect from the art for the issue. Clearly, only the foreground characters were inked, leaving a hazy, sketchy background battle scene colored completely in red because there's insufficient definition for a full coloring job. There are scenes in which the art is crisp and clear, full of detail and energy worthy of a sequel to Crisis on Infinite Earths. And there are other pages that are clearly rushed. Are the artists to blame? I don't know, but I doubt it. It seems as though the schedule for this title just didn't allow for the regular artists to get the job done in time.
So, Alexander Luthor engineers the biggest fight scene this side of the 1980s, and the point is... elusive. Luthor claims the massive jailbreak and heroes-versus-villains slugfest on the streets of Metropolis is part of his plan to reshape the Earth, but how that fits it is never made clear. Doomsday's return is thoroughly anti-climactic as well, as is Alex Luthor's ultimate fate.
There are some strong moments in the book. The Green Lantern Corps' mass assault against the evil Superboy is a great sight, and it was cool yet chilling to see so many GL rings streaking off in search of new masters. The imprisonment scene at the end of the issue is a satisfying one as well, and it really drives home the role of the Green Lanterns in the universe and the sheer size of the corps. However, these brief moments of strength and entertainment in the book are easily eclipsed by the lack of focus in the writing and the art. 4/10
Note: This comic book was not among this week's new releases.
