The OMAC Project, Volume 1 (Countdown to Infinite Crisis)

Written by Greg Rucka, Geoff Johns and Judd Winick Art by Jesus Saiz, Rags Morales, Ed Benes, Phil Jimenez, Ivan Reis, and various Cover by Ladronn

Spinning out of IDENTITY CRISIS, COUNTDOWN TO INFINITE CRISIS was a Special that laid the groundwork for events in the DCU for the year to come. Now COUNTDOWN is collected with the hot miniseries that directly spun out of it: THE OMAC PROJECT! This crackerjack thriller by Greg Rucka (ADVENTURES OF SUPERMAN, WONDER WOMAN) features the moody, gorgeous art of Jesus Saiz (MANHUNTER). Every hero and villain in the DCU is under the gaze of an unbelievably powerful spy satellite. It's a technological marvel that answers to only one person - and he's got plans for it that are completely unknown to the superspy organization he controls: Checkmate! In a world where men can fly and melt metal with their eyes, there's now an army created specifically as an answer to them: the OMACs Batman and old ally Booster Gold are about to learn the chilling truth behind the OMAC Project - but will they work with or against each other?

This volume includes COUNTDOWN TO INFINITE CRISIS, THE OMAC PROJECT #1-6, and WONDER WOMAN #219.

Grade 7 Up Relations have cooled between The Justice League of America and Batman since Brother I, the surveillance satellite that he designed, was taken over by millionaire Max Lord. When Blue Beetle points out a bizarre break-in at a local warehouse, no one much cares, so he and his pal Booster begin to investigate themselves. Beetle sneaks into the millionaire's lair and learns of his total knowledge of the identities of every superhero. Only Wonder Woman thinks Beetle might be onto something, but Max Lord has a plan for her, using Brother I. It is interesting to see DC update its characters into contemporary personas: the JLA is as routine as the fire department in this world, Batman is a rogue, Superman is nearly a god. The artwork is generally stunning; in one scene Green Lantern's ring glows so brightly it hurts to look at it. The colored panels are done by some of DC's finest. The artists have made the figures lifelike but heroic, not exaggerated. Plotwise, backstories like this often elevate minor characters to leads and derive their drama from the impending crossovers they build. Patrons want to read exhaustively to know every detail; libraries with good comics circulation will need to consider this title. John Leighton, Brooklyn Public Library, NY
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