Cooke's fascinating blend of Silver Age innocence and modern cynicism and maturity continues to impress. His storytelling here is mesmerizing, and what impressed me the most about this issue is how much it has to offer. The storytelling is broad and engrossing; I felt as though I was reading a thick graphic novel as opposed to a single episode of a limited series. Despite the density of this issue, though, it never felt cramped or scattered. The story doesn't race along or crawl either. The art is as strong as the script as well. Like the plotlines, there's a rich mix of brighter and darker elements, and it all adds up to a thoroughly satisfying read.
Factions within the U.S. government, likely the same ones that saw the Justice Society shut down, take steps to capture America's newest mystery man, the second Flash, and the effort forces the Scarlet Speedster to take an unexpected turn in his crimefighting career. Meanwhile, in Gotham City, a chance encounter with a paranoid scientist who once worked on Col. Rick Flagg's secret Martian rocket project gives Detective John Jones a glimmer of hope that he might be able to return home. The problem is that he's not certain he's ready to leave his new home behind. And in Tennessee, a righteous man falls.
The cover boasts an inventive design. I love how Cooke has used the blue and red planets that serve as settings in this series as J'Onzz/Jones's eyes. The interior art is an amazing cross between traditional comic art and darker 21st-century sensibilities. The latter part of this issue is full of action, and COoke choreographs it perfectly. The artist also captures a 1950s sensibility perfectly, from the pop design of various elements to the crude quality in the television broadcast bits. Dave Stewart's colors bring a sullen and textured look to the book that enhances the suspense and reinforces the melancholy mood of many of the characters as well.
The Flash's reaction to being treated as a criminal was entirely unexpected, but there was a ring of credibility to it. Just as surprising is the development in John Henry's career as a crimefighting KKK opponent. His moment of desperation is heart-wrenching, as is the moment that follows it. Cooke again combines innocent and corrupt ideas in one form, and it's unsettling.
The New Frontier has placed two specific characters front and center throughout its run so far, and that's Hal Jordan and John Jones. John's loneliness and curiosity draw him in different directions. He's a well-realized character despite his fantastic origins. He is hopeful yet suspicious, kind yet withdrawn. The connection between Hal and Flagg that's revealed in this issue really helps to bring their relationship into focus as well. While the overall plotlines are large in scope, Cooke still makes room in his script for small, character-oriented moments that go a long way to add to the book's strength.
