Title: The King is Dead
Writer: Greg Rucka
Artist: Jesus Saiz / Cliff Richards / Bob Wiacek
Colorist: HiFi Design
Letterer: Phil Balsman
Editor: Joan Hilty
Publisher: DC Comics
INITIAL DISCLAIMER: By definition, this comic and this review spoils the end of Wonder Woman #219. Read that first. Seriously.
SPOILER SPACE.
Alright then.
Wonder Woman has coldly and dispassionately executed Maxwell Lord, when confronted with the reality of his ability to control Superman, used to devastating effect in the previous parts of this series (and the Superman titles, dealt with below).
For those of you that thought the answer to the heroes’ problems was the elimination of Maxwell Lord, think again. The Brother I satellite takes matters into its own hands, and commences a number of less-than-friendly activities on its own. The big hitters of DC are called into action all over the world to combat the unfolding events.
First, an editorial note. We’ve all been conditioned to expect that ‘tie-in’ issues are really only nominal excuses to try to jack up the sales of another title. But here, the ‘Sacrifice’ titles should really just have been labeled as issues 4-7 of the OMAC project, because if you haven’t read them, you are going to be completely and utterly flabbergasted at the story progression which has taken place since the last ‘OMAC Project’ issue.
Rucka has apparently even apologized for the structure at the San Diego Comicon, so let’s move on. After all, to err is human, to forgive, divine. And I’m divine (or something).
Anyway, Max Lord appears as dead as you’re going to get in comics, but the Brother I satellite certainly seems to believe that payback is a bitch, implementing an obviously rehearsed strategy of staying one step ahead of the heroes.
The implications of Diana’s act, and Batman’s feelings about the initial creation of the satellite are dealt with to some extent, and its pretty clear that these will become major points in the rest of this mini, and carrying on to Infinite Crisis.
Generally, the tone is quick and breathless. Huge events are taking place, although these are broken up with interludes involving Sacha and also Guy Gardner / Booster Gold. The art involving the latter is different (by different artists, and it is seriously jarring, really taking you out of the story).
The events of the DC Universe are pretty clearly converging on these mini-series, and this one in particular. I truly believe that, regardless of the quality, this series qualifies as a must-read for any of those that intend on following DC past the ‘Infinite Crisis’.
Having said that, the writing is well done, although the interludes and cross-cutting between scenes is jarring, and could have been smoother. The art (for the first and last third) is excellent, while the more ‘old-school’ style of the Booster / Gardner segment is decidedly off-putting.
