Lucifer continues to maneuver pieces into play. The portal that he opened into the void has attracted a great deal of attention, but he must leave Mazikeen to defend it while he seeks the return of his wings from the gods currently holding them. She may not be strong enough to defend it from the demons who wants its power; that is, without some extra help from the Basanos. Lucifer’s hosts try desperately to force him to give them an excuse to kill him. Amenadiel urges the heavenly host to take the gate by force. Elaine uncovers some troubling truths about her true nature, and the investigation brings her square in the sights of another of Lucifer’s opponents.

This book makes almost no sense without a familiarity with Devil in the Gateway, as characters and plot points introduced there play a vital role. It speaks well of Carey’s plotting that the many agendas here coalesce into a strong narrative. The strength of his protagonist is a very useful resource in that regard, as his machinations provide a central hub for the others to project from. And even while Lucifer seems many steps ahead of everyone, there is foreshadowing that suggests that all those other agendas are more than mere fodder for his plans.

This is not a pleasant book; indeed, it’s filled with tales of the grotesque ways mortals and spirits prey on one another. There’s a certain intellectual satisfaction from seeing the plots play out, which is magnified by the resolution of Lucifer’s various gambits. Lucifer’s goal is power, true, but he’s seeking power over himself, a power he thinks that God has denied him. Reconciling an omnipotent, omniscient creator with a human capability for free will is a thorny puzzle that has kept philosophers and theologians busy for quite some time with no sign of stopping, and Carey has done a fine job of harnessing the dramatic potential in the conflict.

Ryan Kelly and Peter Gross handle most of the art chores here, with Dean Ormston working on some stories. They make the various torments and tortures vivid enough to give them impact, without being so lurid as to overwhelm the reader. I’m not necessarily a huge fan of the horror genre, so I’m more than happy with an approach that’s disquieting but thought-provoking over one that just aims to make me feel squeamish.

Reviewed by Dave Thomer
theLogBook.com Assistant Editor

• Year: 2001
• Writer: Mike Carey
• Art: Peter Gross, Ryan Kelly, Dean Ormston
• Colors: Daniel Vozzo, Marguerite Van Cook
• Letters: Comicraft, Fiona Stephenson
• Genre: comics / fiction
• Length: 160 pages
• Publisher: DC Comics/Vertigo