Danger Street #6: Have Yourself Some Darkseid Loops

By far, the best part of this issue is the cover. Jorge Fornes draws a cereal box homage cover that features everyone’s favorite cereal, “Danger Street with Omega 3.” He even draws a funky-looking Darkseid who partakes in eating the cereal. This cover is a ton of fun but oddly holds a ton of thematic relevance to Darkseid’s character within the cereal. Seeing him eat cereal on the cover humanizes him, which mirrors Darkseid’s need to become humbled and more human within the issue. Getting the amazing cover is worth the price of admission alone, but making it somehow tie into the issue’s theming is nothing short of genius from this creative team.

Following Batman’s shocking cameo in the last issue, Danger Street #6 solidifies its place as the middle issue of this 12-issue maxi-series. Pretty much every main character’s stories end on cliffhangers. Some cliffhangers are more exciting than others, whereas some stories feel like they are still getting started. A story like this that juggles so many different storylines at once can be hard to swallow, but Tom King ensures that the plot never grows dull while slowly building the intrigue.

By the end, the narrator reveals that all the characters have been introduced, and all the pieces are in play. It seems like it’s DC’s goal to pants Batman in its books lately, and that happens again here when it’s revealed that his statement from the last issue, “The Outsiders aren’t real…” was utterly wrong. The Outsiders are real, and their brief introduction raises many questions. Why do the Green Team hate them so much? Since they stole Abdul’s money, are they actually working for the Commodore? These questions are a very intriguing spot to leave the book while it goes on a short hiatus. 

Having a solid background narrative that is essentially about Heaven and Hell gives this book a Preacher feel. Dave Stewart’s colors flourish when the narrative shifts to Apocalypse and New Genesis, providing a striking contrast to the more relatable palette used in most scenes. This also gives High Father and Darkseid an otherworldly look that makes the spacefaring narratives feel alive but also ethereal. This is made even more apparent when Clayton Cowels’ lettering style changes, further emphasizing the powerful personalities of these New Gods. This comparison also comes from this series’s main setting in a desert town. Regardless, any comparison to Preacher should be met with high praise.