Carey begins the newest arc of Lucifer by introducing some new characters, and reintroducing us to some that readers may have forgotten. This makes for a sometimes-confusing read, as the sheer size of the Lucifer cast can be overwhelming if you don't have a photographic memory or if you don't reread the trades each time you pick up a new arc, but it also makes for an intriguingly complex story. Sort of an echo of what happened in one of Sandman's strongest stories, "Season of the Mists," this arc begins with God having abandoned his post, and explores what happens as others rush to fill it.
There's an oddly comic tone to the two characters seeking the throne of Yahweh, because while they exist to cause chaos and they engage in no small amount of bloody carnage during this issue, they come across as quite stupid. Their attempts to barge in on Dream were particularly amusing, as they are put down by supporting characters in a fashion that will no doubt entertain Sandman readers. And yet, Carey seems to have an intention of playing them as more than comic relief, if the final page is to be believed. Once again, Carey's ability to balance comedy and more serious matters, which he has used with Gaudium, Elaine Belloc and even Lucifer himself, comes to the fore in the story.
In another echo of what's gone on in Lucifer so far, these unearthly doings have an earthly tie. Instead of Jill Presto, the mortal in this case is Beatrice, a girl who I only vaguely remember. A little more reintroduction would have been nice, but I at least get the sense of how she fits into things since she fit Mazikeen, and I'm fairly sure that we're supposed to be in the dark as to why she has a link to the brother Titans Gyges and Garames. Honestly, I was a little more confused by what exactly Gyges and Garames were doing, seemingly time-traveling and interposing themself in God's place, which didn't make sense to me. If he's gone now, why would all that he has done in history be gone as well? But despite not being entirely sure how they get to their place in the last page, I understand where they are, and that's really the most key point.
The art this time out is strictly Peter Gross and Ryan Kelly, which surprises me because there are some pages that I could swear look more like regular co-artist Dean Ormston's work. In particular, Beatrice looks like the less full-featured and more abstract design of Ormston, and the bowling alley debacle comes with the less clear storytelling that I generally associate with his work. From what I can tell, it looks like there was a spontaneous explosion, perhaps a chaos effect, but since we don't know who is talking or what's really going on, the result is that we're as confused as Beatrice about what's going on. This is quite probably intentional, but while that works for a trade collection, it makes these pages something of a loss in monthly publication.
This issue of Lucifer doesn't read as strongly as most of them have to me, I still see a great deal of promise in the "Brothers in Arms" story. Carey has turned the focus away from the supporting cast and more squarely onto Lucifer, which is an interesting twist, and certainly the notion of a more Heavenly take on "Season of the Mists" makes for a potentially fascinating story.
