Liam Neeson as Darkman

segunda-feira, 25 de abril de 2016

Super Powers - Liga da Justiça Antártica


Info About Keith Giffen:

Keith Ian Giffen (born November 30, 1952)[1] is an American comic book illustrator and writer.


Keith Giffen was born in Queens, New York City.[2]
His first published work was "The Sword and The Star", a black-and-white text story featured in Marvel Preview #4 (Jan. 1976), with writer Bill Mantlo.[3] Giffen and Mantlo created Rocket Raccoon in Marvel Preview #7 (Summer 1976).[4] Giffen is best known for his long runs illustrating and later writing the Legion of Super-Heroes title in the 1980s and 1990s. Giffen and writer Paul Levitz crafted "The Great Darkness Saga" in Legion of Super-Heroes vol. 2, #290–294 in 1982.[5] In August 1984, a third volume of the Legion of Super-Heroes series was launched by Levitz and Giffen.[6] Giffen plotted and pencilled the fourth volume of the Legion which began in November 1989.[7]
In addition, Giffen co-created the humorous Justice League International series in 1987 with J. M. DeMatteis and Kevin Maguire.[8] The success of that series led to a spinoff in 1989 titled Justice League Europe also co-written with DeMatteis and featuring art by Bart Sears.[9] The Giffen/DeMatteis team worked on Justice League for five years and closed out their run with the "Breakdowns" storyline in 1991 and 1992.[10] The two writers and Maguire reunited in 2003 for the Formerly Known as the Justice League miniseries[11] and its 2005 sequel, "I Can't Believe It's Not the Justice League", published in JLA Classified.
Giffen created the alien mercenary character Lobo (with Roger Slifer)[12] as well as the irreverent "want-to-be" hero Ambush Bug.[13] A Doctor Fate series of back-up stories, written by Martin Pasko and drawn by Giffen appeared in The Flash #306 (Feb. 1982) to #313 (Sept. 1982).[14] DC later collected Pasko and Giffen's stories into a three-issue limited series titled The Immortal Dr. Fate (Jan. 1985 – March 1985). He was one of several artists on Wonder Woman #300 (Feb. 1983).[15][16] Giffen plotted and was breakdown artist for an Aquaman limited series and one-shot special in 1989 with writer Robert Loren Fleming and artist Curt Swan for DC Comics.
He has worked on titles owned by several different companies including Woodgod, All Star Comics, Drax the Destroyer, Heckler, Nick Fury's Howling Commandos, Reign of the Zodiac, Suicide Squad,[17] Trencher, T.H.U.N.D.E.R. Agents, and Vext. He was responsible for the English adaptation of the Battle Royale and Ikki Tousen manga, as well as creating "I Luv Halloween" for Tokyopop. He worked for Dark Horse from 1994 to 1995 on their Comics Greatest World/Dark Horse Heroes line, as the writer of two short lived series, Division 13 and co-author, with Lovern Kindzierski, of Agents of Law. For Valiant Comics, Giffen wrote X-O Manowar, Magnus, Robot Fighter, Punx and the final issue of Solar, Man of the Atom.
He took a break from the comic industry for several years, working on storyboards for television and film, including shows such as The Real Ghostbusters and Ed, Edd 'n' Eddy.
Giffen and his Justice League colleagues, J.M. DeMatteis and Kevin Maguire, have applied their humorous brand of storytelling to a title that he had drawn in the 1970s, Marvel Comics' The Defenders. The same trio produced the Metal Men backup feature that appeared in Doom Patrol.
Giffen and DeMatteis collaborated with artist Joe Abraham on the creator-owned title Hero Squared for Boom! Studios. The two-issue mini-series Planetary Brigade chronicled the adventures of characters originating from this series.
Giffen was the breakdown artist on the DC Comics title 52, a weekly series following in the wake of the Infinite Crisis crossover, written by Geoff Johns, Greg Rucka, Mark Waid and Grant Morrison.[18][19] He continued in that role with the follow-up weekly series Countdown to Final Crisis. He was the lead writer for Marvel Comics's "Annihilation" event,[20] having written the one-shot prologue, the lead-in stories in Thanos[3] and Drax,[21] the Silver Surfer[22] as well as the main six issues mini-series.[23] He wrote the Star-Lord mini-series for the follow-up story Annihilation: Conquest.[24]
Between 2005 and 2007 he co-created and often authored or co-authored independent comics such as 10, Tag and Hero Squared for Boom! Studios for Zapt! and I Luv Halloween for Tokyopop, Common Foe and Tabula Rasa for Desperado Publishing/Image Comics and Grunts for Arcana. Many of these were co-authored with Shannon Denton.
He co-wrote OMAC with Dan DiDio as part of The New 52 company-wide relaunch until its cancellation with issue #8. In October 2011, he became writer of Green Arrow from issues #4–6.[25] Giffen and Paul Levitz collaborated on the Legion of Super-Heroes for issues #17 and 18 in 2013.[26][27] Giffen reunited with J. M. DeMatteis on the Justice League 3000 series launched in October 2013.[28][29] In 2014, he and Jeff Lemire, Dan Jurgens, and Brian Azzarello co-wrote The New 52: Futures End.[30] That same year, Giffen and Dan DiDio reunited on Infinity Man and the Forever People.[31][32]


Giffen's art has taken on many styles over the years. His early work tended towards a heavy influence from Jack Kirby. After an early stint at Marvel, he began doing layouts for artist Wally Wood during the 1976 revival of the Justice Society of America in All Star Comics.
When he returned to comics after a hiatus, his style was more precise and reminiscent of George Pérez and Jim Starlin, and helped make Legion of Super-Heroes DC's second most popular comic after Pérez's New Teen Titans. It was his work on the Legion that rocketed him to comic book artist fame and gave him a creative control with the national companies that few artists achieved. He peppered his artwork with in-jokes such as upside down Superman logos, hidden Marvel characters, eyeball creatures, and scrawled humorous messages on signs in the background of his panels in the alternate futuristic alphabet Interlac.
As Giffen's style loosened up, he found himself drawn to the work of José Muñoz (see Controversy). Soon thereafter he developed a scratchier, more impressionistic style, using a highly stlylized method of drawing directly with ink, on titles such as Trencher, Lobo Infanticide and Images Of Shadowhawk.
After his lengthy sabbatical from comics work, Giffen returned with a style influenced by his Justice League artist Kevin Maguire that was mid-way between the tight, controlled pencils of his early Legion days and the freer but less anatomically realistic style he had later adopted.


For many years, Giffen would co-write comics, but only as a plotter. He relied on others such as Robert Loren Fleming, and Tom and Mary Bierbaum, to supply dialogue, even when he was basically the author of the work. He co-wrote the Freak Force series with Erik Larsen, and co-wrote two SuperPatriot mini-series. Beginning with Trencher, Giffen started writing comics fully by himself, although he still collaborates when the project calls for it.
Giffen is known for having an unorthodox writing style, often using characters in ways not seen before. His dialogue is usually characterized by a biting wit that is seen as much less zany than dialogue provided by longtime collaborators DeMatteis and Robert Loren Fleming. He is known for his humorous takes on existing characters, often focusing on their personality clashes. He has a tendency to poke fun at trends in comic books or character archetypes. His Ambush Bug miniseries is especially noted for its in-jokes such as Villian (sic) the Villain, Cheeks the Toy Wonder, and the use of DC editor Julius Schwartz as a character.
He is known for sudden plot twists and abrupt often tragic turns of fate. During his late 1980s-early 1990s run on the Legion of Super-Heroes, light comical issues were often followed by darker ones where popular characters were maimed or killed.
Work since 2007 includes writing The Programme #3, Dreamwar a DC/Wildstorm crossover[3] and Reign in Hell, an eight-issue limited series, with artists Tom Derenick and Bill Sienkiewicz, about various DC Comics magical characters in Hell.[33][34] On February 7, 2009, it was announced at the New York Comic Con that he would be spearheading a revival of Doom Patrol, a title which he has long said he wanted to write.[35] He finished Grant Morrison's run on The Authority and writing a Magog ongoing series.[3] Giffen co-wrote the 26-issue biweekly Justice League: Generation Lost with Judd Winick, which saw the return of Justice League International, and wrote an arc of Booster Gold with DeMatteis and artist Chris Batista.[36] In 2011 and 2012, he co-wrote and drew OMAC with Dan DiDio for eight issues before its cancellation. DC announced in October 2011 that Giffen would be co-writing Superman vol. 3 with Dan Jurgens and their first issue was #7 (cover dated May 2012).[37]


In February 1986 The Comics Journal published "The Trouble With Keith Giffen," an examination of recent dramatic changes in Giffen's drawing style. The article pointed out that Giffen had changed from a slick, clean Jim Starlin-esque style to an avant garde, heavily inked one. The article displayed several panels side-by-side to illustrate the magazine's allegation that Giffen was copying, or "swiping" the work of Argentinian cartoonist Jose Muñoz.[38][39]
In response, Giffen alluded to the controversy by drawing Ambush Bug with the Peanuts character Snoopy in Son of Ambush Bug #5 (November 1986). Giffen's frequent collaborator Robert Loren Fleming wrote the dialogue for the scene. The controversy continued, however, when Giffen was accused of swiping Muñoz again in the anthology Taboo.[40]
Giffen has acknowledged Muñoz's influence, and in 2000 referred to the controversy this way:
At that point in his career, Giffen was one of the most popular comic book artists in the industry. The ensuing controversy hurt Giffen's reputation.[41] Giffen returned to drawing full-time two years later while continuing to plot the Justice League and its numerous spin-offs. This period also marked Ambush Bug's demise as a popular major character at DC. According to Giffen, it had to do with editorial discomfort with the series' humorous approach to the DC Universe: "DC was just too uncomfortable with the (admittedly nicely selling) bully pulpit they'd provided the loose cannons on the creative team".[42]

Extracts Taken From:

Info About J. M. DeMatteis:

John Marc DeMatteis (born December 15, 1953) is an American writer of comic books, television and novels.


Early career

J. M. DeMatteis's earliest aspirations were to be a rock musician and comic-book artist. He began playing in bands starting in the sixth grade, generally in the role of lead singer/songwriter/rhythm guitarist, and also wrote music reviews for a number of publications.[2] He began drawing at a young age, and was accepted into the School of the Visual Arts. DeMatteis recalled, "...for some reason, I think it was financial, I ended up not going. Somewhere after that what little drawing skills I had began to atrophy."[2]
DeMatteis then turned from drawing to writing. He got his start in comic books at DC Comics in the late 1970s. After a number of rejected submissions, his first accepted story was "The Lady-Killer Craves Blood", but it would not be published until years later,[2] in House of Mystery #282. His first published story for the company was "The Blood Boat!" in Weird War Tales #70 (Dec. 1978).[3] He contributed to the company's line of horror comics notably with the creation of the Creature Commandos in Weird War Tales #93 (Nov. 1980)[4] and I…Vampire in House of Mystery #290 (March 1981).[5] He briefly wrote the Aquaman feature in Adventure Comics as well.[6] DeMatteis and artist Brian Bolland produced a backup story titled "Falling Down to Heaven" in Madame Xanadu, DC's first attempt at marketing comics specifically to the "direct market" of fans and collectors.[7] DeMatteis had long been eager to work for Marvel Comics, and following roughly a year in which editor-in-chief Jim Shooter kept him busy with odd jobs and fill-ins,[2] in 1980 he began writing for Marvel on The Defenders,[8] and had lengthy runs on Captain America, paired with penciler Mike Zeck,[3] and Marvel Team-Up.[9]


After writing a negative review of the Grateful Dead's 1980 album Go to Heaven which was published in Rolling Stone, DeMatteis ended his career as a music critic. He explained, "Grateful Dead fans are like hardcore comic book fans, you know... and I know that when I sit down to write a review that I'm just some shmuck sitting down at a typewriter with an opinion - but then it's in print in something like Rolling Stone. I got all these letters, which I saved, from all these hardcore Grateful Dead fans - wounded. ... I said if I'm gonna review at all I'm not gonna write negative reviews anymore..."[2] Around this time he also surrendered his professional career as a rock musician, after years of playing in New York City-based bands.[2]
In 1984, DeMatteis and artist Bob Budiansky produced a Prince Namor limited series.[10] DeMatteis and illustrator Jon J. Muth created the graphic novel Moonshadow, for Marvel's Epic line: the groundbreaking story was the first fully painted series in American comics. DeMatteis followed this with the 1986 Doctor Strange graphic novel Into Shamballa drawn by Dan Green and Blood: A Tale, a hallucinatory vampire story drawn by Kent Williams.[3] In 1987, DeMatteis and Zeck re-teamed for the "Kraven's Last Hunt" arc that ran throughout Marvel's then three Spider-Man titles. The arc has been collected in multiple editions and remains one of the most popular, and respected, stories in Spider-Man's history.[11][12]
Moving back to DC, DeMatteis succeeded Gerry Conway as writer of the superhero-team title Justice League of America. When that series was cancelled[13] in the wake of the company-wide crossover Legends, DeMatteis stayed through its relaunch as Justice League International,[14] scripting over the plots of Keith Giffen.
JLI took such lesser-known DC characters as Martian Manhunter, Blue Beetle, Booster Gold, Mister Miracle, Captain Atom, and Power Girl and turned the then-current preoccupation with "grim 'n' gritty" superheroes on its head. The lighthearted series emphasized the absurd aspects of people with strange powers, wearing colorful costumes, volunteering to fight evildoers. While the League had its serious side and often faced world-threatening villains, it also featured such characters as the lovably inept G'Nort, the worst Green Lantern in the Corps; Mr. Nebula, the interplanetary decorator; the Injustice League, a bunch of bumbling losers; and a flock of homicidal penguins who had been hybridized with piranhas. The success of Justice League International led to a spinoff in 1989 titled Justice League Europe also co-written with Giffen and featuring art by Bart Sears.[15]


The Giffen/DeMatteis team worked on Justice League for five years and closed out their run with the "Breakdowns" storyline in 1991 and 1992.[16] DeMatteis scripted Justice League spin-offs such as solo series for Mister Miracle and Doctor Fate.[3]
Back at Marvel, DeMatteis again succeeded Conway, this time as writer of The Spectacular Spider-Man in 1991, taking the series in a grimmer, more psychologically oriented direction. In collaboration with regular artist Sal Buscema, DeMatteis' story arc "The Child Within" (#178-184) featured the return of the Harry Osborn Green Goblin.[17] Spider-Man's battle with the Goblin continued in "The Osborn Legacy" in #189[18] and came to an end when Harry died in "The Best Of Enemies!" (#200).[19]
In 1994, DeMatteis took over from David Michelinie as writer of The Amazing Spider-Man #390-406 for a run that included the apparent death of Peter Parker's Aunt May[20] and the beginnings of the "Clone Saga" arc. DeMatteis as well worked on such characters as Doctor Strange, Daredevil, Man-Thing, and the Silver Surfer.
DeMatteis helped launch DC's mature-audience Vertigo imprint, writing the graphic novels Mercy and Farewell, Moonshadow (a sequel to the Epic Comics series), the miniseries The Last One, and the 15-issue series Seekers Into The Mystery,[3] the story of a Hollywood screenwriter on a journey of self-discovery and the search for universal truths.
DeMatteis wrote an autobiographical, digest-sized miniseries Brooklyn Dreams, published by DC's Paradox Press imprint. DeMatteis' most personal work, it was later collected in one volume under the Vertigo imprint.

21st century

In the 2000s, DeMatteis redefined the Spectre, through the character of Hal Jordan, as a spirit of redemption rather than of vengeance. DeMatteis co-scripted the "Gods of Gotham" storyline in Wonder Woman #164-166 (Jan.-March 2001) with Phil Jimenez.[21] In 2003, with Giffen, he revived the Justice League International for the mini-series Formerly Known as the Justice League.[22] The series won Giffen, DeMatteis and artist Kevin Maguire an Eisner Award.[23] The team followed this with "I Can't Believe It's Not the Justice League" arc in JLA Classified and, at Marvel, a five-issue run of The Defenders. In 2006, DeMatteis and Giffen began work on two original superhero comedy series, Hero Squared and Planetary Brigade for Boom! Studios.[24] DeMatteis teamed with veteran artist Mike Ploog to create the CrossGen fantasy comic Abadazad (May 2004). The following year, Ploog and DeMatteis announced they were collaborating on a five-issue miniseries, Stardust Kid, from the Image Comics imprint Desperado Publishing.[24] The series moved to Boom! Studios in 2006.
The Walt Disney Company acquired Abadazad for its Hyperion Books for Children imprint.[24] The first two books in the series — Abadazad: The Road to Inconceivable[25] and Abadazad: The Dream Thief[26] — were released June 2006. The third book — Abadazad: The Puppet, The Professor and The Prophet[27] — was released in the United Kingdom in 2007.[citation needed]
In 2008, DeMatteis became editor-in-chief of Ardden Entertainment, guiding the launch of a new Flash Gordon comic book series. In 2009, he wrote a five-issue comic book limited series, illustrated by Mike Cavallaro, The Life and Times of Savior 28, which was released by IDW Publishing in 2009.[28] He also wrote the Metal Men back-up story in the new Doom Patrol[29][30] and returned to Marvel Comics for a number of new Spider-Man stories. In 2010, DeMatteis reunited once again with frequent collaborator Keith Giffen for a run on the comic book series Booster Gold. The two teamed on the DC Retroactive: JLA - The '90s one-shot in October 2011.[31] Also in 2011, DeMatteis created the all-ages fantasy The Adventures of Augusta Wind for IDW Publishing. In 2013, he took over DC Comics' Phantom Stranger and launched the 12-issue Larfleeze series[32] with Giffen. DeMatteis became the writer of Justice League Dark in October 2013 and, again with Giffen, launched Justice League 3000 in December.
In June 2010, DeMatteis's children's fantasy novel, Imaginalis, was published by Katherine Tegen Books, an imprint of HarperCollins.[33] DeMatteis is the screenwriter for the film Batman vs. Robin.


Extracts Taken From:

More Info: -

segunda-feira, 11 de abril de 2016

Final Crisis

Info About Final Crisis:

"Final Crisis" is a crossover storyline that appeared in comic books published by DC Comics in 2008, primarily the seven-issue miniseries of the same name written by Grant Morrison. Originally DC announced the project as being illustrated solely by J. G. Jones; artists Carlos Pacheco, Marco Rudy and Doug Mahnke later provided art for the series.[1][2] It directly follows DC Universe #0 after the conclusion of the 51-issue Countdown to Final Crisis weekly limited series.[3] Promotion about the limited series describes its story as "the day evil won". The series deals with alien villain Darkseid's plot to overthrow reality, and the subsequent death and corruption of various DC characters and their universe.

Publication history

Final Crisis came out of several ideas Grant Morrison had when he returned to DC Comics in 2003. Morrison said, "I pitched a huge crossover event called Hypercrisis, which didn’t happen for various reasons. Some of Hypercrisis went into Seven Soldiers, some went into All-Star Superman, some went into 52 and some of it found a home in Final Crisis."[4] According to Grant Morrison, work finally began on Final Crisis #1 in early 2006, with the intention of the series being a thematic and literal sequel to Seven Soldiers and 52, two projects that Morrison was heavily involved in at the time.[5]
References to Infinite Crisis as the "middle Crisis"[6] gave readers the impression there would be at least one additional major follow-up to the original Crisis on Infinite Earths. A May 2007 teaser poster confirmed this speculation with the tagline: "Heroes die. Legends live forever."
Final Crisis was preceded by Countdown, a year-long weekly series which was meant as a follow-up to 52. Halfway through, the series was renamed Countdown to Final Crisis. However, the artwork met with delays.[citation needed] To keep the release on schedule, Countdown wrapped with issue #1 and its planned final issue (#0) was revamped as a 50 cent one-shot special called DC Universe #0. Besides hyping upcoming storylines such as "Batman R.I.P." and "Blackest Night," the issue was narrated by Barry Allen and featured Libra leading a group of super-villains in prayer for the "god of evil", Darkseid. The result is, as described by Morrison, that "we’re watching him fall back through the present, into the past of Seven Soldiers where he finally comes to rest in the body of 'Boss Dark Side’, the gangster from that story."[5]
To help readers identify events pertinent to Final Crisis and other major DCU events as the crossover approached, a "Sightings" cover banner appeared on various DC comics as "signposts, marking important storybeats and moments throughout the DC Universe."[7] The first such headers appeared on Justice League of America (vol. 2) #21 and Action Comics #866, respectively (the JLA issue featured Libra's return and his recruiting of the Human Flame).
The original intent was for Jones to pencil the whole series. Due to delays, however, Carlos Pacheco drew issues #4-6 with Jones, and issue 7 was drawn entirely by Doug Mahnke. Jones said that “Any problems completing the series are my own. I love Doug Mahnke’s art, and he would have probably been a better choice to draw this series in the first place.”[8]
In addition to the core limited series the larger storyline includes a number of tie-ins, including one-shots and limited series.
The one-shots comprise "Requiem,"[9] "Resist,"[10] "Secret Files" and "Submit". Also "Rage of the Red Lanterns" is the start of a storyline of the same name, that picks up on events in "Green Lantern: Secret Origin" and continues in Green Lantern #36-38. It starts as a tie-in because, according to writer Geoff Johns, "events in Final Crisis have motivated the Guardians to proceed further with their attempted containment of the light".[11]
The limited series comprise Superman Beyond (a two issue mini-series also written by Grant Morrison), Legion of 3 Worlds (a five-issue limited series focusing on the different incarnations of the Legion of Super-Heroes[12]), Revelations (a five-issue limited series[13]), and Rogues' Revenge (a three-issue mini-series focused on the Flash Rogues[14]).


Following the final battle of the New Gods, the spirit of the lord of evil, Darkseid, tumbles through time itself, coming to rest on Earth, where it, along with the spirits of the other evil gods of Apokolips, manifests itself in the body of a human being. Darkseid's "fall" has sundered reality, creating a singularity at the heart of creation, into which all of space and time are slowly being drawn, setting the stage for the evil god's final victory, to be claimed in his inevitable death. Through his agent Libra, he arranges for a huge army of super villains to be gathered, who capture and murder the Martian Manhunter as the opening salvo of the conflict. Coinciding with the Manhunter's death is the arrival on Earth of Nix Uotan, an exiled member of the cosmic Monitors, who has been sentenced to become human as punishment for failure in his duties.
Following the trail of a group of missing child prodigies, detective Dan Turpin discovers the dying body of Darkseid's son, Orion. The Justice League of America liaise with the Green Lantern Corps to investigate the murder, deducing the cause of death to be a bullet of Radion—a substance toxic to New Gods—fired backwards through time from the future. New God Granny Goodness, possessing the body of Green Lantern Kraken, stymies the investigation by framing Hal Jordan for the murder; when Batman deduces her true identity, she captures him and teleports him to Command D, a government bio-chemical weapons facility beneath the city of Blüdhaven that has also fallen under the control of Darkseid's minions. Slowly becoming aware of the threat the evil gods pose, Alan Scott enacts "Article X", a super hero draft, that readies Earth's metahuman forces for the coming war.
With Batman and Jordan removed from play, the New Gods continue to eliminate the greatest threats to Darkseid's plan. Wonder Woman is infected by the Morticoccous bacteria by a Desaad-possessed Mary Marvel while investigating Blüdhaven. Superman departs for the future in order to obtain a cure for Lois Lane when a bomb in the Daily Planet building mortally wounds her. The Silver Age Flash, Barry Allen, is resurrected from within the Speed Force by powers unknown, but then races back in time alongside Wally West, attempting to outrun the Black Racer, the Death of the New Gods, and stop the bullet that will kill Orion.
Turpin's search for the missing children leads him to the Dark Side Club, where he is confronted by Darkseid's human host, Boss Dark Side. The evil god transfers his essence into Turpin's body and brings him to Command D, where the detective is subjected to bio-genetic restructuring to transform his body into a replica of Darkseid's original form. Concurrently, Darkseid's agents release the Anti-Life Equation through all of Earth's communications networks, spreading it across the entire planet. The two Flashes, having failed to prevent Orion's death, emerge from the time stream one month after the equation's release, and discover that the minds of nearly the entire population have fallen under Darkseid's control, with its super-human victims having been transformed into a military force of "Justifiers".
With the help of the Tattooed Man, the Super Young Team and former allies of the New Gods of New Genesis Shilo Norman and Sonny Sumo, the small cells of super heroes who have managed to resist the equation discover a possible salvation: a symbol from the alphabet of the New Gods that will break the equation's control over minds, which was gifted to the cave-boy Anthro by Metron in prehistoric times. Meanwhile, a huge battle erupts between the superheroes and the Justifiers in Blüdhaven, during which the equation-controlled Wonder Woman infects the heroes with Morticoccous, which strips the heroes of their powers. However, the loss of these troops is soon mitigated by the turning of Libra's Justifiers, control over whom is usurped by Lex Luthor and Doctor Sivana so they can help defeat Darkseid. These twists and turns are observed by Nix Uotan, whose powers and memories of his true nature are unlocked with the help of Metron and a mysterious ape-like figure in a robe.
Escaping confinement in Command D, Batman uses the radion bullet to mortally wound Darkseid, before the dark god uses his Omega Beams to kill Batman. Superman returns to the present and tears Command D apart to recover Batman's corpse, and faces off against Darkseid as the Flashes come racing into Blüdhaven, the Black Racer hot on their heels. As the heroes reach super-luminal velocity, time warps around the Flashes, creating the temporal eddy into which Darkseid fires the bullet, sending it back in time to kill Orion. Outpacing Omega Beams fired from the eyes of the humans in Darkseid's thrall, the Flashes lead both the beams and the Black Racer straight to Darkseid, finishing the job Batman had begun and bringing the touch of death to the god of evil. Simultaneously, The Ray traces the Metron symbol across the face of the Earth in beams of light, liberating all those under the equation's control; the freed Wonder Woman uses her lasso of truth to release Darkseid's consciousness from Turpin's body.
Although physically bested, Darkseid's dying essence is still dragging all of reality into nothingness along with it. Time and space break down as the effect worsens, until eventually, only Superman is left in the darkness at the end of creation, struggling to complete a copy of the "Miracle Machine," a wish-granting machine shown to him by Brainiac 5 during his trip to the future. Darkseid's essence re-emerges to claim the machine, but Superman destroys him for good by using the last of his super-powered breath to sing, countering the vibrational frequency of Darkseid's life-force.
With Darkseid's end, however, the evil behind evils emerges: Mandrakk, the Dark Monitor, fallen father of Nix Uotan, who waits at the end of all things to consume what remains. Superman uses the solar energy in his own cells to power the Miracle Machine, and makes a wish that is granted by the appearance of an army of Supermen from all across the multiverse, including one modeled on U.S. President Barack Obama.[15] Nix Uotan joins the clash, using his Monitor powers to summon the Green Lantern Corps, the Zoo Crew, the Super Young Team, the armies of Heaven itself, and more for a final battle with Mandrakk that culminates in the Corps spearing him with a stake made of pure light and created by the combined energy of their rings. The heroes drag Earth out of the black hole that is Darkseid, and Nix Uotan returns to being human as the other Monitors cease to exist in accordance with the wish Superman had made: a wish for a happy ending.
In the distant past, Anthro dies of old age in a cave. His body is discovered by Bruce Wayne — not dead, but sent back in time by the Omega Beams—who picks up where Anthro left off, drawing a bat symbol on the cave wall.



Extracts Taken From:

More Info: -

Infinite Crisis

Info About Infinite Crisis:

"Infinite Crisis" is a 2005–2006 comic book storyline published by DC Comics, consisting of an eponymous, seven-issue comic book limited series written by Geoff Johns and illustrated by Phil Jimenez, George Pérez, Ivan Reis, and Jerry Ordway, and a number of tie-in books. The main miniseries debuted in October 2005, and each issue was released with two variant covers: one by Pérez, and one by Jim Lee and Sandra Hope.
The series storyline was a sequel to DC's 1985 limited series Crisis on Infinite Earths. It revisited characters and concepts from that earlier Crisis, including the existence of DC's Multiverse. Some of the characters featured were alternate versions of comic icons such as an alternate Superman named Kal-L, who came from a parallel universe called Earth-Two. A major theme was the nature of heroism, contrasting the often dark and conflicted modern-day heroes with memories of "lighter" and ostensibly more noble and collegial heroes of American comic books' earlier days.
Infinite Crisis #1 was ranked first in the top 300 comics for October 2005 with pre-order sales of 249,265. This was almost double the second ranked comic House of M #7 which had pre-order sales of 134,429.[1] Infinite Crisis #2 was also the top seller in top 300 comics for November 2005 with pre-order sales of 207,564.[2]


The plot begins when, in Crisis on Infinite Earths, Kal-L (the Superman of pre-Crisis Earth-Two), the Superboy of Earth Prime, Alexander Luthor, Jr. of pre-Crisis Earth-Three, and Lois Lane Kent of pre-Crisis Earth-Two voluntarily sequestered themselves in "paradise". DC officially began leading up to the new Crisis with a one-shot issue Countdown to Infinite Crisis, followed by four six-issue limited series that tied into and culminated in Infinite Crisis.
Once the Crisis was completed, DC used the One Year Later event to move the narratives of most of its DC Universe series forward by one year. The weekly series 52 began publication in May 2006, and depicts some of the events which occurred between Infinite Crisis and One Year Later.
In June 2008, a third and Final Crisis began a run, set immediately following the conclusion of the 51-issue Countdown to Final Crisis. This Crisis has thus been referred to in DC continuity as the "middle 'Crisis'".

Publication history


Infinite Crisis was announced in March 2005. The event was kicked off with the release of Countdown to Infinite Crisis. Countdown to Infinite Crisis was followed by four six-issue limited series: The OMAC Project, Rann–Thanagar War, Day of Vengeance, and Villains United, as well as a four-part limited series DC Special: The Return of Donna Troy. These first four limited series each had a special tie-in issue, released at monthly intervals during the Infinite Crisis event.


As with many large-scale comic crossovers, Infinite Crisis featured a large number of tie-ins. Before the event was announced, books such as Adam Strange and Identity Crisis were being described as part of bigger plans. After Countdown, several books were identified as tie-ins to the four mini-series. Thus, although Infinite Crisis itself is only seven issues long, its plot elements appeared in dozens of publications.
Some of these books were of direct and major importance, such as the Superman "Sacrifice" and JLA "Crisis of Conscience" storylines, the latter of which ended with the Justice League's lunar Watchtower being destroyed, leading directly into Infinite Crisis #1.

Editorial planning

DC Comics executive editor Dan DiDio stated that Infinite Crisis was being hinted at in various stories for two years prior to its launch, starting with the "death" of Donna Troy.[3] The leadup was mostly understated until the release of the Adam Strange limited series in 2004, at which point industry press began to report that DC was planning a very large event, mentioning the titles Teen Titans, The Flash, and JSA, all written by Geoff Johns.[citation needed]
With Countdown to Infinite Crisis, Infinite Crisis began to visibly affect DC's editorial policy. Geoff Johns and Grant Morrison moved into editorial positions in addition to their writing duties, respectively to coordinate coherence of the DC Universe and to handle reimaginings of several characters.[citation needed] Mark Waid signed an exclusive contract with DC, receiving a similar editorial role. DC replaced its official decades-old logo (the "DC bullet") with a new one (the "DC spin") that debuted on the first issue of DC Special: The Return of Donna Troy.
Aside from marking a major editorial shift within DC Comics, Infinite Crisis was a return to large company-wide crossovers of a sort that had been uncommon since the downturn of the comic industry in the 1990s.


The story begins in the wake of the four lead-in limited series, with Superman, Wonder Woman, and Batman feuding, the JLA Watchtower destroyed, and the heroes of the world all facing a variety of menaces. Over this backdrop, Kal-L (the Earth-Two Superman), along with Earth-Two's Lois Lane, Earth-Three's Alexander Luthor, and Superboy-Prime escape from the pocket universe where they had been left at the end of Crisis on Infinite Earths.[4] Kal-L seeks out his cousin, Power Girl, also a survivor of Earth-Two. Believing Lois' health will improve on her native world, he hopes to replace the current Earth with Earth-Two, which he considers perfect.[5][6]
Kal-L tries to enlist Batman's support, stating that the Post-Crisis Earth's inherent "bad" nature caused Batman's recent mistrust and hostility. Batman refuses and tries to use his Kryptonite Ring, but as this is not native to Kal-L's Universe it fails and is destroyed by heat vision. Afterward, Batman learns Superboy-Prime destroyed the JLA Watchtower.[7]
Alexander reveals to Power Girl that he and Superboy-Prime had been leaving their "paradise" for some time, manipulating events to help create an inter-dimensional tuning fork. Using the Anti-Monitor's remains and captured heroes and villains specifically attuned to former universes (Power Girl among them after Superboy-Prime knocks her out), Alex restores Earth-Two, un-populated except for the Earth-Two heroes transported there.[8]
Superboy-Prime attacks Conner Kent, this world's Superboy. Multiple super-teams intervene. Superboy-Prime accidentally kills several heroes before the Flashes and Kid Flash force him into the Speed Force, assisted by the speedsters already within it. Jay Garrick, the only speedster left behind, says the Speed Force is now gone.[8][9]
Seeking to create a perfect world, Alexander restores many alternate Earths. The Earth-Two Lois dies, and an aggrieved Kal-L and the younger Superman Kal-El fight until Wonder Woman separates them.[10][11][12] Bart Allen (wearing Barry Allen's costume and aged to adulthood) emerges from the Speed Force, warning that he and the other speedsters were unable to hold Superboy-Prime, who returns wearing Anti-Monitor inspired armor that stores yellow sun radiation to empower him, making him even stronger.
Batman's strike force destroys Brother Eye, a satellite AI created by Batman that had gone rogue and begun transforming civilians into nano-infused robots. Alexander selects and merges alternate Earths, trying to create a "perfect" world, until Firestorm blocks his efforts. Conner, Nightwing, and Wonder Girl release the Tower's prisoners.[13][14] Fighting each other, Conner and Superboy-Prime collide with the tower, destroying it. The multiple Earths recombine into a "New Earth" as Conner dies in Wonder Girl's arms. Power Girl soon arrives and asks Kal-El what happened to Lois. The answer causes her to break down prompting her to ask Kal-L why.
He answers her simply, telling her it was because he chose the wrong Superboy to condemn and the wrong Superboy to condone.
When a horde of supervillains attack Metropolis,[15] heroes, current and retired, fly off to the rescue. They are joined by the National Guard. The battle results in multiple deaths on both sides, including many by Superboy-Prime himself, who kills villains and heroes alike. During the battle, Superboy-Prime takes off to destroy Oa, planning to collapse the Universe, and recreate it with himself as the only superhero. Superboy-Prime breaks through a 300-mile thick wall of willpower created by the Green Lantern Corps, and then kills thirty-two Green Lanterns before Kal-L and Kal-El carry him toward Krypton's remains, now essentially a huge cloud of kryptonite. Flying through Krypton's red sun, Rao, destroys Superboy-Prime's armor and causes all three Kryptonians' powers to diminish. Falling to the sentient planet (and Green Lantern Corps member) Mogo, they fight. Kal-El finally knocks Superboy-Prime out and the older Superman Kal-L dies of his injuries in the arms of his cousin, Power Girl.
Back on Earth, Batman, struggling with Superboy's death and Nightwing's severe injuries sustained during the Metropolis battle, contemplates shooting Alex. Batman is discouraged by Wonder Woman. Alex manages to escape.[16]
Wonder Woman, Batman, and Superman later meet up in Gotham. Wonder Woman plans to find out who she is. Batman plans a similar journey of self-discovery, revisiting the training of his youth, this time with Dick Grayson, now healthier, and Tim Drake joining him. Superman retires from superheroics until his powers return.[17]
Hiding in an alley in Gotham City and making new plans, Alexander Luthor is found by Lex Luthor and the Joker. The Joker deforms him by spraying acid onto his face, then electrifies it, and finally kills Alexander by shooting him as Lex mocks him for making the mistake of not letting the Joker play in the Secret Society.
The Green Lantern Corps imprison Superboy-Prime inside a red Sun-Eater. The series ends with him carving an S into his chest with his bare hands and declaring that he has escaped from worse prisons than this.[18]

Hardcover revisions

The hardcover collecting all seven issues of Infinite Crisis included changes in coloring, as well as, more significantly, alterations in dialogue, most of which relate to hints to the re-emergence of the DC Multiverse.[27][28] Also changed is the two-page spread near the end of the book, where a new George Pérez image is substituted. Four additional pages of art by Phil Jimenez were added. An interview section included as an afterword explains the reasoning behind some of these alterations.

Extracts Taken From:

More Info: -