| |
|
DCU #0 was hard to follow, much of it in the "give a fuck" vein, but that is Darkseid falling. Because the two planets, one nice, one naughty. And the teeth. These are not the teeth of a Flash; I'd go so far as to say that omniscient narrator Barry Allen is not - at this point - incarnate (cf: the lightning flash over the moon, with the red sky) but has undergone the process of becoming self-aware. A self-aware universe, you might say. Haters might want to take that into account before Eternity's big brother needs a word.
But I really think it's a patent untruth that FC#1 was incomprehensible, when - especially - such lengths are gone to to clarify who the New Gods are, what the Monitors do. I think it's basically a short-circuit in the brain of most superhero comics readers who - doubtless and correctly - think Marvel characters are either a) more recognisable or b) better or indeed c) both and have only recollection of seeing Effigy or Hal Jordan or whoever in depressingly dull and bollocks comics or none whatsoever. "The appearance of Captain Cold made this comic incomprehensible + not worth my time(!)" - playing percentages, you'd be right. (That said, I'd also recommend Catwoman v.3 #21 as a good, readable, Captain Cold-featuring, comic.)
However. Firstly, I'd like to suggest the appearance of warehouses in the shipping district - like in the Wire Season 2! - one of which is prominently enumerated '23' does lend some verity to 1011=23, fwiw. I pronounce it "ten-eleven" which sounds suitably space police. (How do you read binary in your comics, B'lith? the Solaris stuff was a bit of a distraction to me - I think it's probably meant to be like digital breakup there vs. "NOOOonezerozerooneoneone")
I just think the comic did great with scale - the segues from street (which - I'd like more GMo street on this basis) through to exterior of the chamber holding the Orrery of Worlds were solid, fuck a Source Wall, and the end-up with Solomon sotto voceing, probably to Darkseid judging by his wiki entry, but out the fourth wall while you the decent reader are ulitmately left trapped inside poor Nix Uotan ("No god" + a play on 'Uatu' = good work, in my book) embedded in, shot to, the very bottom of this superstructure, fearing the worst... I thought that was pretty clever. I also think this is going to be a proper reagent with Seven Soldiers, if you're into that sort of thing - the lady Anthro saves looks an awful lot like Alix Harrower in her pre-Bulleteer days, so I'ma go out on this one and suggest he'll be Aurakles' dad, the flame of superdom having been lit. The Kamandi scene is - look, you don't even have to know the kid's name, everyone's seen Planet of the Apes surely. It's a kid from the (imminent?!?!!!) end of civilisation speaking to one from the beginning: Anthro has painted himself like the porcelain man in the magic chair. This appears to have had the effect of inducing temporal distortion or prescience. You don't even have to know Metron is a time traveller. There's other stuff with the flame motif a'wy and Martian/God of War (DOA) but I thought it was - given event comics do tend to be clippy by nature - maybe not entirely bravado, but a confident start.
Only time will tell us who is the buster. |
|
|
