I've noticed that in the single issue stories that punctuate the arcs of Lucifer, Carey explores ideas that are on the fringes of the story of Lucifer as a whole. While they may feature characters and concepts from the bigger arc of the series, they are mainly short stories that anyone can enjoy, whether they're a regular reader or not, and this one is no exception. There are a couple of storytelling hiccups and some unanswered questions that could frustrate some, and as always I'm more of a fan of regular artist Peter Gross than Dean Ormston, but on the whole this is an impressive "done-in-one" tale of magic, horror and hope.
There are some peripheral elements of Lucifer on display in here. The realm that he has created, if I'm reading right, is where some of the story takes place, and the appearance of the cynical fallen angel Gaudium is a nod to the continuity of the series as well. Actually, Gaudium's appearance threw me, as it didn't seem to transition neatly from the main story and mainly seemed to be there just to fill a couple of pages. I also wonder if maybe the specifics of what was born might not be a question that will nag at the casual reader, although that could well be explored in later story arcs.
However, the central story is what really grabs my attention. Through a narration technique that is half omniscient and half the thoughts of the protagonist, Carey paints a picture of a kind old man, Sabah Al-Dabagh, who has not seen the rewards for his kindness returned in any tangible form. In a bit of irony, his kindness is returned not by the God he's worshipped, but by the devils he has been taught to fear. The charismatic, sexy and dangerous nature of Zim'et is the other character element that Carey spends a lot of time establishing, and the payoff is a relationship between these two that makes a strong foundation for the story.
While I sometimes miss Peter Gross's clarity of storytelling in the months when Ormston is filling in, I can't deny that Ormston has a stronger ability to create an atmosphere. His half-shadowed vision of Zim'et is truly spooky, and it's not hard to see why Sabah would be so terrified and confused when he enters into Zim'et's realm. Ormston does fantastic work with light and shadow, and I'm reminded of Mike Mignola's work in many ways.
I love the epic storyline that Carey has been weaving in this book, but I must admit that some of my favorite stories are the interludes between each more connected arc. It is here that Carey shows the true debt that Lucifer owes to Sandman, not just a lead character but the idea that a general theme is more important than tight continuity or a series of story where every one contributes something crucial to the larger whole. These creepy and intelligent short stories are great for fans of Lucifer as well as those who have never read the book before, or have no interest in a larger epic tale.
