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"Fourth World" thematic stories
The New Gods #1 (March 1971) featuring Orion. Cover art by Jack Kirby and Don Heck.
Created byJack Kirby
Publication information
PublisherDC Comics
Title(s)
Superman's Pal Jimmy Olsen #133–148
New Gods #1–11
Forever People #1–11
Mister Miracle #1–18
The Hunger Dogs
FormatsMultiple, thematically linked
Genre
Publication date1970–1973
Number of issues59
Main character(s)Darkseid
Mister Miracle
Orion
Forever People
Highfather
Lightray
Jimmy Olsen
Superman
Morgan Edge
Newsboy Legion
Guardian
Kalibak
DeSaad
Intergang
Big Barda
Granny Goodness
Oberon
Metron
Dan Turpin
Creative team
Writer(s)Jack Kirby
Artist(s)Jack Kirby
Reprints
Collected editions
Fourth World by Jack Kirby OmnibusISBN 1-4012-7475-7
Omnibus Volume 1ISBN 1-4012-1344-8
Omnibus Volume 2ISBN 140121357X
Omnibus Volume 3ISBN 1401214851
Omnibus Volume 4ISBN 1401215831

"Fourth World" is a metaseries of connected comic book titles written and drawn by Jack Kirby and published by DC Comics from 1970 to 1973. Although they were not marketed under this title until the August–September 1971 issues of New Gods and Forever People, the terms Fourth World and Jack Kirby's Fourth World have gained usage in the years since. Kirby created the Fourth World concept in the 1970s. The series is a science-fiction based mythology that revolves around ancient space deities known as the New Gods. The New Gods are similar to the gods of Earth lore.

Publication history

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Initial 1970s comics

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As the newsstand distribution system for comics began to break down, Jack Kirby foresaw a day when comics would need to find alternate venues for sale.[1] Toward this end, Kirby envisioned a finite series that would be serialized and collected in one tome after the series had concluded.[1] He began the "Fourth World" in Superman's Pal Jimmy Olsen #133 (Oct. 1970).[2] DC Comics had planned to introduce the "Fourth World" titles in the November 1970 issue of their preview omnibus title, Showcase. Kirby reportedly objected to this, and Showcase was cancelled. This delayed the introduction of the "Fourth World" titles until the following year. The three original titles constituting the "Fourth World" were The Forever People,[3] Mister Miracle,[4] and The New Gods.[5][6]

Unhappy with Marvel Comics at the time, as he had created a plethora of characters without having copyright or creative custody of them, Kirby turned to rival publisher DC Comics, with his sketches and designs for a new group of heroes and villains.[1] He had first showed them to Stan Lee, who liked them, but wanted to fold them into already existing titles. So Kirby decided to keep them for himself. When Carmine Infantino visited Kirby and his family for Passover, he showed him his designs and ideas. Infantino told him that he wanted to bring them to DC. Worsening conditions at Marvel and promises from DC made Kirby decide to switch company.[7] As author Marc Flores, who writes under the pen name Ronin Ro,[8] described:

The idea of the New Gods had come to Jack years earlier, when he was plotting 90 percent of the "Tales of Asgard" stories in Thor. He wanted to have two planets at war and end with Ragnarok, the battle that would kill Thor's lucrative pantheon. Instead, he tried the idea in his Inhumans stories. Now he was presenting it in its original context. Though he wouldn't ever say it publicly, the New Gods books started right after the gods in Thor killed one another. The first page of Orion of the New Gods showed the same scenes from Thor—a planet torn in half and armored gods holding swords and dying on a fiery battleground.[9]

Mister Miracle #1 (April 1971), cover art by Jack Kirby and Vince Colletta.

"The Fourth World" dealt with the battle between good and evil as represented by the worlds of New Genesis and Apokolips. Darkseid, the evil lord of Apokolips, seeks the Anti-Life Equation which will allow him to control the thoughts of all living beings. Opposing him is Orion, his son, who was raised on New Genesis.[10] Other characters caught in the battle included the Forever People, an extension of the kid gang concept from the 1940s with a group of adolescents adventuring without an adult supervisor;[11] Mister Miracle, a native of New Genesis raised on Apokolips who triumphed over a torturous childhood to become the world's greatest escape artist; and Lightray, the heroic warrior of New Genesis. Their adventures would take them to Earth where the war continued.

Comics historian Les Daniels observed in 1995 that "Kirby's mix of slang and myth, science fiction and the Bible, made for a heady brew, but the scope of his vision has endured".[12] In 2007, comics writer Grant Morrison commented that "Kirby's dramas were staged across Jungian vistas of raw symbol and storm... The Fourth World saga crackles with the voltage of Jack Kirby's boundless imagination let loose onto paper".[13]

The Fourth World characters reappeared in various titles. In 1976, the New Gods were featured in the last issue of 1st Issue Special.[14] The New Gods series relaunched in July 1977, and with 1st Issue Special still a relatively recent publication, it picked up where the storyline of that issue left off. Although the title remained "The New Gods" in the indicia and retained its original numbering, launching with #12, the covers used the title "The Return of the New Gods".[15] Gerry Conway wrote the series and Don Newton drew it.[16] Mister Miracle teamed-up with Batman three times in The Brave and the Bold,[17][18][19] and the Mister Miracle series was revived in September 1977 by Steve Englehart and Marshall Rogers.[20][21] Steve Gerber[22] and Michael Golden produced three issues ending with #25 (Sept. 1978),[23] with several storylines unresolved.[24] Mister Miracle teamed with Superman in DC Comics Presents #12 (Aug. 1979)[25] and the New Gods met the Justice League of America and the Justice Society of America in Justice League of America #183–185 (Oct–Dec 1980).[26][27][28] "The Great Darkness Saga" storyline in Legion of Super-Heroes vol. 2 featured the team battling Darkseid a thousand years in the future.[29]

Origin of the name

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Mark Evanier, who worked as Kirby's assistant in the 1970s and later wrote an award-winning Kirby biography, has said that there are multiple, mutually-exclusive explanations for why Kirby chose the name "Fourth World", adding that "if you'd asked Jack eight times, you'd have gotten eight more"; ultimately, Evanier concluded that none of the suggested explanations are plausible, and that it is most likely "just a term that popped into [Kirby's] head and he liked the sound of it. Later on, he came up with several different retroactive explanations".[30]

1984 reprint series

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In 1984, DC Comics reprinted Jack Kirby's original 11 issues of The New Gods in a six-issue limited series. The first five issues each reprinted two consecutive issues of the original series.[31] The mini-series' final issue was originally intended to include a reprint of New Gods vol. 1 #11 and a new 24-page story which would conclude the series and end with both Darkseid and Orion dead. DC editors prevented Kirby from using his original intended ending.[32] Kirby instead turned in a one-off story called "On the Road to Armagetto" which was rejected as well, due to the fact that it did not contain a definitive ending to the series.[32] A 48-page new story called "Even Gods Must Die" was published instead, serving as a prologue for The Hunger Dogs graphic novel, which was greenlit to conclude the series.[32]

The Hunger Dogs was designed to give an ending to the story of the New Gods, while fulfilling editorial mandates that the New Gods be kept alive to ensure future use of the characters by later writers.[33] It incorporated several pages from the unpublished "On the Road to Armagetto" story and brought Kirby's New Gods series to a close as the "hunger dogs", the citizens of Apokolips, overthrow Darkseid.[34][35][36]

Later revivals

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Concurrent with DC's New Gods reprint series in 1984, Kirby worked on two Super Powers comic book limited series for DC Comics in which he continued the Fourth World characters and mythology.

A Forever People miniseries was published in 1988.[37] Mister Miracle was featured in Justice League International by J. M. DeMatteis and Keith Giffen and a series of his own written by DeMatteis.[38] The Fourth World characters were prominently featured in Cosmic Odyssey,[39] which led to a third New Gods series (February 1989 – August 1991), written by Mark Evanier,[40] which fleshed out details about the history of many New Gods, most notably introducing Darkseid's father Yuga Khan. A fourth New Gods series was launched in October 1995,[41] and a third Mister Miracle series in April 1996.[42] Both of these were replaced in March 1997 by the Jack Kirby's Fourth World series, written and drawn by John Byrne.[43] Walt Simonson wrote and drew an Orion solo series from June 2000 to June 2002.[44]

Writer Grant Morrison used some of the Fourth World mythology in various titles they worked on, including their run on JLA, with Orion and Big Barda becoming members, and in the Seven Soldiers metaseries, in which the New Gods, especially Mister Miracle,[45] played a major role. They are seen creating Aurakles, the first superhero.[46]

The Death of the New Gods limited series (October 2007 – April 2008) was written and drawn by Jim Starlin.[47][48] Final Crisis brought about the end of the Fourth World and the dawn of the Fifth as Darkseid was destroyed and several New Gods are resurrected.

With the reboot of the DC Universe following Flashpoint, the deaths of the New Gods and Darkseid have been removed from canon and the characters are still active. In particular, Darkseid and his uncle Steppenwolf and their attacks on the main DC Universe and Earth 2 play a major role in the rise of the superheroes: the Earth-2 versions of Superman, Batman, and Wonder Woman die fighting Steppenwolf[49] while the Earth-1 Justice League forms to fight Darkseid and thwart his invasion of Earth.

A New 52 version of the Forever People debuted in the Infinity Man and the Forever People series.[50] Serifan is now Serafina, Vykin's sister, and Beautiful Dreamer has been renamed Dreamer Beautiful.[51]

Fifth World

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In December 2007, DC Executive Editor Dan DiDio was discussing the aftermath of Death of the New Gods and pointed to the creation of Fifth World; he said: "It's the advent of the Fifth World... I think we've telegraphed so much that the New Gods are coming upon a rebirth, and the story that we're telling with them now is a continuation of the story that was established when Kirby first conceived the concept. Talk about death—Kirby blew up worlds at the start of the series. The story started with, 'The Old Gods Died!' which made room for the New Gods—we're picking up that thread and launching the DCU into the future".[citation needed]

That series led into Final Crisis. DiDio clarified things further, saying that "the Fourth World is over. The battle between the forces of Darkseid and those of Highfather is over, and a new direction is in place for the characters in what will be deemed the Fifth World".[52] The series' writer, Grant Morrison, added: "In Jack Kirby's Fourth World books... it's pretty clear that the New Gods have known about Earth for a long time and in JLA ten years ago, I suggested that part of their interest in us was rooted in the fact that Earth was destined to become the cradle of a new race of 'Fifth World' super-divinities—an eventuality Darkseid is eager to prevent from occurring".[53] It was during that run on JLA that Morrison had Metron deliver a speech outlining the general principles:

How like little children you appear to me. How small is your comprehension and yet... there is a seed in you... The Old Gods died and gave birth to the New. These New Gods, even such as I, must also pass, in our turn. Our search was long and our war continues, but we found the planetary cradle of the Gods to Come. ... you are only forerunners.[54]

Later, in the JLA storyline "World War III", Metron's dialog is more specific: "As New Genesis is to the Fourth World, Earth shall be to the Fifth that is to come".[55]

Collected editions

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Trade paperbacks

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The Kirby-produced "Fourth World" titles were reprinted by DC in trade paperback format in the early 2000s in black-and-white rather than in color, although the Superman's Pal Jimmy Olsen preludes were reprinted in color:

  • Jack Kirby's New Gods, collects The New Gods #1–11; 304 pages, December 1997, ISBN 978-1563893858[56]
  • Mister Miracle:
    • Jack Kirby's Mister Miracle: Super Escape Artist collects Mr Miracle #1–10, 256 pages, September 1998, ISBN 978-1563894572[57]
    • Jack Kirby's Fourth World: Featuring Mister Miracle collects Mister Miracle #11–18, 187 pages, July 2001, ISBN 978-1563897238
  • Jack Kirby's The Forever People collects The Forever People #1–11, 288 pages, October 1999, ISBN 978-1563895104[58]
  • Jimmy Olsen: Adventures by Jack Kirby

Omnibus

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DC reprinted the entire Fourth World saga in publishing order in the four volume hardback series Jack Kirby's Fourth World Omnibus from 2007 to 2008. In addition to the remaining issues of Mister Miracle, Forever People, and New Gods, the fourth Omnibus included the Fourth World character entries written for Who's Who: The Definitive Directory of the DC Universe, the 48-page "Even Gods Must Die!" from the last issue of the 1984 Baxter reprint series, and The Hunger Dogs graphic novel.[61] The series was reprinted in paperback starting in late 2011.[62] In 2017, in honor of Kirby's 100th birthday, DC Comics released a new hardcover omnibus collecting the story in its entirety. New contents included essays from Mark Evanier and Walter Simonson, and Kirby pencils, profiles, and pinups.[63] The collection was released on December 12 the same year. The $150 omnibus however had a mistake, omitting the splash page from Jimmy Olsen #148, reprinting a page from an earlier episode instead.[64]

In September 2021, a new edition, correcting the original error, with better quality paper stock at a reduced price was published with 50 additional pages of unpublished material. ISBN 978-1779512611

  • Jack Kirby's Fourth World Omnibus
    • Volume 1 collects Forever People #1–3, Mister Miracle #1–3, The New Gods #1–3, Superman's Pal Jimmy Olsen #133–139, 396 pages, May 2007, ISBN 978-1401213442 (hardcover);[65] December 2011, ISBN 978-1401232412 (paperback)[62]
    • Volume 2 collects Forever People #4–6, Mister Miracle #4–6, The New Gods #4–6, Superman's Pal Jimmy Olsen #141–145, 396 pages, August 2007, ISBN 978-1401213572 (hardcover);[66] April 2012, ISBN 978-1401234409 (paperback)[67]
    • Volume 3 collects Forever People #7–10, Mister Miracle #7–9, The New Gods #7–10, Superman's Pal Jimmy Olsen #146–148, 396 pages, November 2007, ISBN 978-1401214852 (hardcover);[68] August 2012, ISBN 978-1401235352 (paperback)[69]
    • Volume 4 collects Forever People #11; Mister Miracle #10–18; The New Gods #11; "Even Gods Must Die" from The New Gods vol. 2, #6; DC Graphic Novel #4: "The Hunger Dogs", 424 pages, March 2008, ISBN 978-1401215835 (hardcover);[61] December 2012, ISBN 978-1401237462 (paperback)[70]
  • Jack Kirbys Fourth World Omnibus HC, collects Superman's Pal Jimmy Olsen #133–139 and #141–148, The Forever People #1–11, The New Gods #1–11, Mister Miracle #1–18, New Gods vol. 2 #1–6, DC Graphic Novel #4: "The Hunger Dogs", and Who's Who: The Definitive Directory of the DC Universe #2–3, #6, #8–18, #20, #22 and #25, 1,536 pages, December 2017, ISBN 978-1401274757 (hardcover)

Absolute Editions

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  • Absolute Fourth World by Jack Kirby Vol. 1 – collects Superman's Pal Jimmy Olsen #133–139 and #141–145, The New Gods #1–6, The Forever People #1–6, Mister Miracle #1–6, June 2020, ISBN 978-1779500861
  • Absolute Fourth World by Jack Kirby Vol. 2 – collects Superman's Pal Jimmy Olsen #146–148, The Forever People #7–11, The New Gods #7–11, Mister Miracle #7–18, Jack Kirby's New Gods (reprint series) #6, DC Graphic Novel #4: The Hunger Dogs and Kirby's On the Road to Armagetto. It also includes a new foreword by Tom Scioli, a gallery of pencil artwork by Kirby and essays by Kirby and Mark Evanier. Release date: January 2022, ISBN 978-1779513335

Awards

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Jack Kirby received a Shazam Award for the original metaseries in the category "Special Achievement by an Individual" in 1971.[71]

In 1998, Jack Kirby's New Gods by Jack Kirby, edited by Bob Kahan, won both the Harvey Award for "Best Domestic Reprint Project"[72] and the Eisner Award for "Best Archival Collection/Project".[73]

See also

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References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Fourth World (comics)

View on Grokipedia
from Grokipedia
The Fourth World is a groundbreaking comic book metaseries created by writer-artist for DC Comics, debuting in 1970 and spanning multiple interconnected titles that introduced the , an advanced pantheon of god-like beings from the warring planets New Genesis and . This epic saga explores cosmic themes of free will, tyranny, and heroism through the eternal conflict between the benevolent forces of New Genesis, led by , and the oppressive regime of , ruled by the tyrannical , who seeks the to enslave all sentient life. Kirby's vision drew from mythology and , portraying the as successors to the fallen Old Gods of Ragnarok, with advanced technology like Boom Tubes for interdimensional travel and Mother Boxes as sentient companions. The series originated in Superman's Pal Jimmy Olsen #133 (October 1970), where Kirby reimagined the and introduced key elements like the and DNAliens, before expanding into standalone titles: (February 1971 – November 1972), (February 1971 – November 1972), and (April 1971–October 1974). Central characters include Orion, Darkseid's adopted son and a fierce warrior raised on New Genesis to embody the truce between the planets; Scott Free (), Highfather's son and an escape artist who fled with warrior ; Metron, the neutral seeker of knowledge via his Mobius Chair; and antagonists like Kalibak and . Despite innovative and Kirby's dynamic art, and were canceled after 11 issues each due to low sales amid the era's economic challenges, though continued for 25 issues until October 1974. The Fourth World's influence endures profoundly in DC Comics, with Darkseid becoming a flagship villain opposite and the , and elements integrated into major events like Final Crisis (2008) and Justice League: Odyssey (2018–2020). Kirby's unfinished saga has been reprinted in omnibus editions, such as the Jack Kirby's Fourth World Omnibus (2007–2008), collecting over 1,500 pages of core stories, and continues to inspire adaptations in animation (Superman: The Animated Series, 1998) and live-action (, 2021), as well as the 2025 miniseries (February–November 2025). Its exploration of —exemplified by the exchanged sons Orion and Scott Free—remains a cornerstone of modern mythology.

Overview

Concept and Themes

Jack Kirby envisioned the Fourth World as a contemporary evolution of ancient mythologies, crafting a new pantheon of gods that emerged from the ashes of their predecessors following a cataclysmic Ragnarok, a fiery holocaust. This post-apocalyptic framework positioned the as successors to the Old Gods of Earth, blending with mythic archetypes to reflect modern humanity's technological and existential concerns. Kirby explicitly stated his aim to update mythological figures, noting, "We can’t be Thor. We can’t be anymore. We’re not a bunch of guys running around in bear skins; we’re guys that wear spacesuits and surgeon’s masks," thereby portraying the Fourth World as a fresh cosmic narrative unbound by traditional lore. At its core, the Fourth World explores profound dichotomies, including the eternal struggle between , embodied in the opposing planets of New Genesis and , and the tension between free will and tyrannical control. Darkseid's pursuit of the represents the ultimate threat to individual autonomy, symbolizing authoritarian domination over personal choice and liberation, while the youthful embody rebellion against oppressive structures. These themes extend to cosmic cycles of destruction and renewal, where cataclysmic events pave the way for new creations, mirroring biblical and midrashic narratives of exile and redemption. The saga further delves into technology as a manifestation of divine power, with devices like the serving as mystical computers that connect users to higher energies and facilitate feats akin to miracles, such as healing or interdimensional travel. In this framework, the gods function as archetypal forces influencing mortal realms, their advanced artifacts blurring the line between science and the . Central to this cosmology is the Source, depicted as the ultimate creative force transcending even the —an eternal, metaphysical origin of all existence that communicates through enigmatic messages, evoking concepts of an omnipotent divine will beyond hierarchical pantheons.

Mythological Framework

The mythological framework of Jack Kirby's centers on the cataclysmic Ragnarok that destroyed the world of the Old Gods, from whose ashes the were born as advanced beings inhabiting the twin planets of New Genesis and . This event marked the transition to a new epoch of divine opposition between the forces of benevolence on New Genesis and tyranny on . Central to maintaining fragile peace in the is the Pact forged between , ruler of New Genesis, and , tyrant of , following their initial war. This treaty involved the exchange of their sons—Highfather sending his infant son Scott Free to , while Darkseid relinquished his son Orion to New Genesis—as mutual hostages to ensure neither side would initiate aggression, lest their own heir suffer reprisal. The arrangement symbolizes a tense deterrence rooted in familial bonds, underscoring the mythology's themes of inherited conflict and reluctant coexistence. Encompassing this cosmology is the Source, an enigmatic primordial force personified as the Source Wall—a colossal barrier of pure energy encircling the universe, containing infinite knowledge and the mysteries of creation beyond mortal or divine comprehension. It serves as the ultimate origin and boundary, accessible only to select like for cryptic guidance, while forbidding passage to prevent the unleashing of unimaginable chaos. Complementing this is the , a philosophical and mathematical formula sought by , representing the ultimate means to eradicate free will and impose absolute mental domination over all sentient beings; as Kirby described it, the Equation enables control such that "all Darkseid has to do is say a word and you become a slave," effectively nullifying individual identity in favor of total subjugation. The societal hierarchy within the reinforces its dualistic structure, with New Genesis organized around enlightened leadership under and his divine family, fostering communal harmony among godlike beings. In contrast, enforces a brutal of power dominated by and his familial elite, where Lowlies—oppressed underclass laborers—form the base, toiling in servitude while ascending ranks like the Parademons and elite enforcers maintain tyrannical order. This stratification highlights the mythology's exploration of authoritarian control versus utopian ideals, with both sides' divine families at the apex driving the eternal struggle.

Creation and Publication History

Jack Kirby's Development

In 1970, Jack Kirby departed from Marvel Comics amid escalating disputes over creative control, royalties, and credit attribution for his contributions to characters like the Fantastic Four and Thor. Seeking fuller ownership and autonomy over his work, Kirby approached DC Comics publisher Carmine Infantino with a proposal for an ambitious, interconnected series of titles that would form a unified narrative saga. This pitch, delivered during a casual meeting, was approved, allowing Kirby to launch what would become the Fourth World mythology, beginning with contributions to Superman's Pal Jimmy Olsen #133 in October 1970. Kirby's vision for the was shaped by a desire to transcend the aging genre, introducing instead a pantheon of god-like beings engaged in eternal cosmic conflict, drawing from epic mythological traditions. Influences included biblical narratives, which infused the saga with themes of moral duality, tyranny, and redemption reflective of Kirby's Jewish heritage and experiences during . He also incorporated elements of grand operatic cycles for structural ambition and science fiction's exploratory scope, as seen in works like Stanley Kubrick's 2001: A , to craft a modern mythos that evolved beyond Earth's heroes into interstellar deities. The term "" was coined by Kirby to signify an advanced evolutionary phase in cosmic mythology, succeeding the ancient gods of Ragnarok and other primordial pantheons, representing a new era of divine beings on planets like New Genesis and . This nomenclature first appeared in New Gods #1, published in February–March 1971, where Kirby explicitly framed the narrative as the dawn of this "" following the demise of older deities. Kirby adopted a highly personal, hands-on role in realizing the , personally writing the scripts, penciling the artwork, and often inking the pages himself to maintain artistic integrity and vision. While he occasionally collaborated with inkers like for finishing touches on select issues, this intensive involvement across multiple titles underscored his commitment to the project's cohesive epic quality, though it also contributed to the demanding production schedule.

Initial 1970s Series

launched the saga by incorporating its mythological elements into the existing series, beginning with issue #133 in October 1970 and continuing through select issues up to #148 in April 1972. This integration introduced key concepts and characters, including the debut of in a in #134 (December 1970), marking the tyrant's first incursion into the as he sought to probe human minds on . These stories served as an entry point, blending lore with Superman's supporting cast while establishing the cosmic conflict between New Genesis and . The core of the initial Fourth World titles emerged in 1971 with three interconnected bimonthly series written and illustrated by Kirby. New Gods debuted with issue #1 in February–March 1971 and ran for 11 issues until October–November 1972, chronicling Orion's battles against Darkseid's forces and the overarching quest for the —a mathematical formula believed to grant control over . The Forever People also launched in February–March 1971 with issue #1 and concluded after 11 issues in October–November 1972, following a group of youthful who used their Super-Cycle and to combat Apokoliptian threats on Earth. Mister Miracle, starting with issue #1 in March–April 1971, focused on escape artist Scott Free (secretly Orion's half-brother) and extended to 18 issues, ending in February–March 1974. Across these titles, Kirby wove a unified exploring themes of destiny, tyranny, and rebellion, with crossovers like Orion's appearances in reinforcing the saga's scope. Despite critical acclaim for its innovative storytelling and artwork, the Fourth World series faced commercial difficulties due to insufficient sales in a competitive market dominated by established heroes. DC Comics canceled New Gods and The Forever People after their 11th issues in 1972, while Mister Miracle persisted longer but concluded with issue #18 in 1974, providing a partial resolution through the wedding of Scott Free and Big Barda amid a final confrontation with Darkseid's agents. This abrupt end left the Anti-Life Equation storyline unresolved, as Kirby had envisioned a finite epic but was constrained by publisher decisions. The Fourth World's integration into the broader DC Universe began during its original run, with characters like Darkseid extending beyond Kirby's titles to influence other books.

Cancellation, Reprints, and Early Revivals

The original Fourth World series faced cancellation primarily due to declining sales in the early 1970s, exacerbated by rising cover prices from 15 to 25 cents starting with New Gods #5, which reduced accessibility amid a broader economic recession affecting the comics industry. Competition from Marvel Comics' popular titles, such as The Amazing Spider-Man—which consistently ranked in the top 10 sellers with average paid circulation exceeding 300,000 copies annually by 1970—further pressured DC's more experimental lineup, including the sophisticated, mythology-heavy Fourth World narratives. Following the 1972 cancellations of and The Forever People after 11 issues each, DC issued no major immediate reprints of the material during 1971–1973, as the titles were still in active publication through 's run until 1974; however, the interconnected stories from #133–148 (1970–1971) and subsequent series were preserved in their original form without significant reissuances at the time. In 1984, DC revived interest through a prestige-format reprint series of (Volume 2), which collected the original 1971–1972 issues on high-quality Baxter paper in oversized 48-page editions with new covers, culminating in issue #6 with fresh Kirby content to provide closure. Although no parallel prestige reprint occurred for in 1984, the format highlighted the saga's enduring appeal and set the stage for further archival efforts. Kirby's return to DC in the mid-1980s culminated in the 1985 graphic novel The Hunger Dogs (DC Graphic Novel #4), where he resolved lingering plot threads from the unfinished original run, including the escalating conflict between New Genesis and , the apparent death of , and Orion's internal struggles. This one-shot, published in March 1985, marked Kirby's final major contribution to the , emphasizing themes of tyranny and rebellion on while bridging gaps left by the abrupt 1970s endings. Early revivals in the late and early included Mark Evanier's (1989–1991), a 28-issue run that integrated elements into the broader , exploring Metron's role and the Source Wall while maintaining Kirby's cosmic scope. Later, John Byrne's Jack Kirby's (1997–1998, 20 issues) continued these themes. Walt Simonson's Orion ongoing series (2000–2002, 25 issues) shifted focus to the protagonist's life on Earth, depicting his attempts to escape Darkseid's influence and protect humanity from Apokoliptian threats, blending street-level action with epic mythology. These efforts, while not matching the original's innovation, sustained the 's legacy before larger crossovers in the 1990s.

Post-1980s Revivals and Expansions

In the late 1990s, Grant Morrison's run on JLA (issues #1–41, 1997–2000) revitalized the mythology by integrating key into the League's core roster and escalating Darkseid's threat as a multiversal conqueror. Orion and joined the team, participating in major arcs like "Rock of Ages," where Darkseid's schemes involved time manipulation and the , emphasizing the cosmic scale of Apokoliptian incursions against . This expansion positioned the as pivotal allies in defending against Darkseid's god-like tyranny, blending Kirby's original concepts with broader crossovers. Morrison further advanced Fourth World lore in Final Crisis (2008–2009), a crossover event that depicted the apparent death of the New Gods and the birth of a "Fifth World" through humanity's triumph over Darkseid's Anti-Life domination. The storyline explored Metron's role in cosmic evolution, with Element X symbolizing the transition from the Fourth World's binary conflict to a new era of mortal gods, while Darkseid's fall through time ravaged Earth. This narrative arc tied Fourth World elements to DC's multiverse, influencing subsequent interpretations of New Genesis and Apokolips as fading paradigms. Jim Starlin's Death of the New Gods (2007–2008), an eight-issue miniseries, dramatically reimagined the Fourth World by systematically killing off its inhabitants, revealing a mysterious force culling the gods to prevent a greater catastrophe. Tied to the Countdown to Final Crisis event, the story investigated murders on New Genesis and Apokolips, culminating in a confrontation that forever altered the pantheon's structure and set the stage for cosmic rebirth. Starlin's follow-up work, including elements in his earlier Orion series, reinforced themes of inevitable decline among the New Gods, blending epic battles with philosophical undertones of divine obsolescence. During DC's relaunch, the Fourth World was integrated into the flagship series (2011–2016) by writer , where Darkseid's invasion of Earth in issues #1–6 prompted the team's formation and established as a central threat to the rebooted universe. This arc reintroduced Parademons and Boom Tubes as invasion tools, framing the ' conflict as foundational to superhero origins while exploring Darkseid's quest for total control. The storyline in #40–50 (2015–2016) expanded Fourth World dynamics through a prophetic conflict between and the , drawing in like and Myrina as agents of chaos on Earth. Written by Johns, the event transformed Justice League members into temporary via the Mobius Chair, delving into Apokoliptian power structures and the Omega Effect's role in multiversal warfare. Scott Free, as Mister Miracle, featured prominently in Justice League Odyssey (2018–2020), a space-faring series by Joshua Williamson that revisited Fourth World tensions amid interstellar politics involving Apokolips' remnants. His escape artistry and ties to Big Barda highlighted themes of rebellion against Darkseid's lingering influence in the ghost sector, bridging personal survival with larger cosmic stakes. In recent years, the ongoing New Gods series (2024–present, issues #1–12+ as of November 2025) by Ram V and artist Evan Cagle reimagines the saga around the death of an ancient god, birthing new cosmic threats and a fractured pantheon. Launched as part of DC's All-In initiative, the narrative focuses on Orion, , and emerging deities navigating a post-apocalyptic divine landscape, emphasizing themes of inheritance and renewal amid dying old gods. This 12-issue arc, planned to extend over multiple years, revitalizes Kirby's mythology for modern readers by exploring the ' evolution in a on the brink.

Fictional Elements

Planets and Locations

The Fourth World mythology centers on two primary planets, New Genesis and , which originated as a single world shattered by a cataclysmic war among the Old Gods, forming twin realms beyond conventional space and time. These planets represent opposing ideals in Jack Kirby's saga, with New Genesis embodying utopian harmony and dystopian tyranny. New Genesis is depicted as an idyllic, floating paradise of lush forests, verdant grasslands, and abundant wildlife, featuring suspended cities like Supertown that hover above the surface to minimize environmental impact. Its society emphasizes enlightenment, tolerance, justice, and the nurturing of youthful potential, governed by the benevolent from a realm preserved through advanced yet nature-respecting technologies. In stark contrast, is a scorched industrial hellscape of perpetual night, dominated by massive fire pits that spew molten lava and heat, fueling its and symbolizing endless suffering. Centered around Darkseid's imposing palace, the planet enforces a rigid system that subjugates Lowlies—broken masses of laborers and conquered peoples—under the rule of elites, with Parademons as armored and torture devices wielded by figures like to instill absolute obedience. This oppressive structure perpetuates fear and hierarchy, directly opposing New Genesis's focus on freedom and growth. Beyond these core worlds, the Source Wall functions as an immense interdimensional energy barrier encircling the universe, containing the and serving as a site of cosmic judgment and containment for threats like imprisoned deities. Boom Tubes, wormhole-like portals activated by Mother Boxes, enable instantaneous travel between New Genesis, , and other realms, often marked by a resounding "BOOM!" effect. serves as a pivotal contested neutral zone, frequently invaded via Boom Tubes as a battleground for the ideological clash between the planets' forces.

Key Artifacts and Concepts

The Mother Box is a sentient, portable supercomputer integral to the New Gods of the Fourth World, functioning as a source of life support, healing, and mystical connection to the Source. Created by the New Genesian scientist Himon using the rare Element X, it provides reassurance and protection to its users, often emitting comforting energies or even lullabies during moments of peril. Beyond sustenance, the device enables advanced capabilities such as Boom Tubes for interdimensional teleportation and limited reality manipulation, allowing New Gods to traverse vast distances or alter their surroundings in subtle ways. Its self-sacrificial nature underscores its role as an idealized maternal figure, capable of expending its energy to revive or shield others, as seen in instances where it interfaces directly with the user's will to sustain life. The represents a metaphysical formula for absolute domination, conceptualized by as a means to eradicate and impose total mental control over sentient beings. In Kirby's vision, it functions as a logical proof that proves life inherently meaningless, stripping individuals of and reducing them to slaves upon its utterance. pursues it relentlessly as his ultimate objective, viewing it as the key to subjugating the universe, though Kirby emphasized its deeper antiwar symbolism, drawing from his experiences to critique tyranny and imperialism. This equation contrasts sharply with the affirming forces of life in the , highlighting themes of individuality versus . As a counter to the , the Life Equation embodies principles of unity, , and communal harmony, promoting the inherent value of existence over domination. Introduced in post-Kirby stories within the expanded mythology, it affirms that true power lies in life's chaotic freedom and collective potential, directly opposing Darkseid's quest by reinforcing resilience and hope among sentient races. In the saga, it serves as a philosophical bulwark, often linked to the Source's vital energies, enabling acts of defiance that preserve individuality against anti-life forces. The Astro-Force is the propulsive energy harnessed by Metron's Mobius Chair, enabling instantaneous travel across time, space, and dimensions within the cosmology. Developed by Metron through his bargain with for the X-Element, this beam-like power allows the chair to navigate the , observing cosmic events without interference and underscoring Metron's role as an impartial seeker of knowledge. Its neutral application reflects the 's themes of exploration beyond moral binaries, facilitating Metron's voyages to the universe's edges. Darkseid's Omega Beams are devastating bio-electric energy projections emitted from his eyes, capable of disintegration, teleportation, or resurrection depending on the tyrant's intent. Originating from the Omega Effect—a cosmic force Darkseid accessed by slaying his brother Drax during a ritual on Apokolips—these zigzagging rays never miss their targets, embodying inevitable destruction in Kirby's design. First depicted in Forever People #6, they symbolize Darkseid's godlike authority, often used to erase foes or banish them across realities, reinforcing his pursuit of anti-life dominance.

Characters

New Gods of New Genesis

Highfather, also known as Izaya the Inheritor, serves as the benevolent ruler of New Genesis, guiding its inhabitants toward ideals of tolerance, justice, and peace. Once a fierce warrior in the conflicts between New Genesis and , Izaya transformed into a spiritual leader after a profound vision from the Source, a cosmic energy wall that directs the universe's mysteries. As , he forged the Pact—a truce exchanging heirs with Apokolips to prevent total war—trading his biological son, Scott Free (later ), for Darkseid's son, Orion, whom he raised as his own. His divine attributes include , , and the ability to project through his staff, which channels the Source's power for blasts, shields, and reality-altering effects. also possesses psionic links to communicate telepathically and distribute enhanced powers to allies, embodying New Genesis's commitment to enlightenment over conquest. Orion, the adopted son of and biological heir to , stands as New Genesis's premier warrior and guardian against tyranny. Born on with an innate rage inherited from his father, Orion was surrendered via the Pact and nurtured on New Genesis, where helped him channel his fury into disciplined heroism. This family dynamic underscores his internal conflict, as he battles not only external threats but his own destructive impulses, often suppressed by a special that calms his Astro-Force—a cosmic energy drawn from the Source enabling devastating blasts, shields, and interdimensional manipulation. Known as the "Dog of War" for his helmet's canine visage, Orion possesses god-like strength, durability, and combat expertise, wielding an Astro-Harness for flight and a for technological aid, making him a pivotal defender of New Genesis's harmony. Lightray, whose true name is Solis, embodies the youthful vitality of New Genesis as its god of light and premier speedster. A loyal subject of , he possesses speed rivaling Earth's fastest heroes, allowing him to traverse dimensions and manipulate light for illumination, blinding flashes, or energy projection. As a member of the , Lightray represents the optimistic, exploratory spirit of New Genesis's younger generation, using his powers to scout threats and support his team's adventures while upholding the planet's peaceful ethos. His divine attributes include enhanced agility, flight, and energy absorption, tying him closely to the communal bonds of his fellow . Metron functions as New Genesis's detached seeker of knowledge, a neutral observer unbound by the planet's politics yet originating from its enlightened society. Traveling the in the Mobius Chair—a hovering that folds for instantaneous dimensional travel—Metron gains near-omniscient insights into cosmic events, though his aloofness keeps him from direct intervention. Gifted with , superhuman intellect, and the chair's reality-warping capabilities, he embodies the intellectual pursuit central to New Genesis, occasionally allying with to share wisdom on universal threats. No familial ties are emphasized in his role, as his quest for truth transcends personal connections. The comprise a youthful team of from New Genesis, symbolizing hope, creativity, and collective power through their shared adventures. Led by Mark Moonrider, who generates electrical energy blasts and disrupts matter with his "megaton touch," the group includes Vykin, a telekinetic powerhouse who interfaces with technology; , a illusion-caster who shapes perceptions with her aesthetic gifts; Serifan, an inventor crafting advanced devices; and , the strongest warrior among them, known for his immense physical might and resilience in combat. Bound by familial-like camaraderie, they utilize a to summon the —a merged cosmic entity of infinite strength and anti-gravity flight—or pilot the Super-Cycle, a versatile vehicle adapting to any terrain. Their divine attributes emphasize unity, with each member's powers amplifying the others to promote New Genesis's vision of freedom and exploration.

Inhabitants of Apokolips

Apokolips, the dystopian counterpart to New Genesis in Jack Kirby's saga, is home to a hierarchy of tyrannical and engineered minions dedicated to oppression and conquest under the rule of its supreme leader. The inhabitants embody themes of cruelty, loyalty through fear, and relentless pursuit of domination, serving as primary antagonists to the forces of good. Darkseid is the tyrannical ruler of , a whose ultimate goal is to acquire the to enslave all in the . Originally named Uxas, he ascended to power by murdering his brother Drax and absorbing the power of the Omega Beams, granting him abilities including , invulnerability, size alteration, telepathy, and the devastating Omega Effect that can disintegrate or teleport targets. As the father of Orion, leads invasions against worlds like , often clashing with heroes such as and the , while commanding a sadistic inner circle to enforce his will. Kalibak, known as "the Cruel," is Darkseid's firstborn son and a brutish enforcer whose loyalty to his father is unwavering despite frequent disdain. Possessing immense superhuman strength rivaling that of Orion and , enhanced durability, and combat prowess honed as a legendary warrior, Kalibak serves as a frontline commander in Apokolips's armies, often leading assaults with savage ferocity. His deformed, hulking form reflects the harsh genetics of , and he frequently engages in personal vendettas, such as battling his half-brother Orion. Granny Goodness oversees the indoctrination and training of Apokolips's youth in her infamous "Orphanage," using psychological and physical cruelty to mold recruits into obedient soldiers, particularly the elite Female Furies. A sadistic matriarchal figure with superhuman strength, agility, and mastery of weapons like her life-draining cane, she embodies twisted maternal authority, brainwashing children to serve Darkseid without question. Her methods ensure the perpetuation of Apokolips's oppressive regime, turning potential rebels into fanatical warriors. Desaad acts as Darkseid's chief advisor, torturer, and , deriving pleasure from inflicting pain through his inventive devices and psychological manipulations. With genius-level intellect, expertise in Apokoliptian technology, and as a New God, he designs weapons, boom tubes, and apparatuses to maintain control over Apokolips's populace and support conquests. Cowardly yet treacherous, Desaad's role involves scheming against rivals while ensuring Darkseid's dominance, often poisoning family members to secure his position. Parademons form the bulk of Apokolips's military forces as winged, genetically engineered shock troops bred for unquestioning obedience and relentless combat. Equipped with flight packs, energy weapons, and enhanced strength, durability, and aggression, they swarm enemies in overwhelming numbers during invasions, serving as disposable infantry under Darkseid's command. These hive-minded soldiers, derived from the lowest castes of Apokoliptian society, reinforce the planet's culture of subjugation through sheer brutality.

Earth-Based and Other Figures

Scott Free, known as , is the son of , ruler of New Genesis, who was exchanged as an infant to under a pact to maintain peace between the warring planets. Raised in the brutal orphanage overseen by , he honed his skills as an escapologist, eventually fleeing to where he adopted the identity of a professional escape artist. On , Scott married , his former fellow trainee from , and they settled into a life bridging cosmic threats with human concerns, often using his —a sentient computer device—for feats like generating force fields, boom tubes for teleportation, and life-sensing capabilities. His abilities include , agility, and mastery of Aero-Discs for high-speed flight exceeding 200 miles per hour, making him a key defender against Apokoliptian incursions on . Big Barda, born on , rose as a leader of the , an elite warrior squad trained under to serve Darkseid's regime. Standing seven feet tall with immense superhuman strength, she wielded her signature Battle Club and Apokoliptian armor in combat before defecting after falling in love with Scott Free during their shared hardships. As 's wife and partner, Barda relocated to , where her warrior prowess aided in protecting humanity from dangers, embodying a fusion of Apokoliptian ferocity and New Genesis ideals. Her training emphasized relentless combat tactics, which she later channeled into heroic endeavors alongside her husband. Dave Lincoln serves as Mister Miracle's Earth-based manager and close ally, handling the logistical and promotional aspects of Scott Free's escape artist persona while providing grounded support amid cosmic conflicts. Introduced as an ordinary human drawn into events, Lincoln possessed a fragment of the in his mind, making him a target for Darkseid's forces and prompting interventions by Orion and other . His role highlights the human element bridging everyday life with the epic struggles of the , often assisting in battles against Apokoliptian threats on . Forager originates from the insectoid colonies on the lower levels of New Genesis, evolving from micro-life forms scattered during the ancient war with , and represents the planet's underclass of humanoid bugs thriving in wild, untamed regions. The original Forager, a brave scout raised by the bug society under Prime-One, aided the in defending against invasions and later perished heroically, inspiring successors who integrated into broader DC heroic teams. These later Foragers, maintaining the insectoid physiology with enhanced agility and exoskeletal durability, have joined groups like the and Outsiders, symbolizing the Fourth World's extension to Earth's defenders. Jimmy Olsen, Superman's associate, experienced brief but pivotal Fourth World exposures through encounters with New Gods elements in Metropolis, including interactions with the Forever People and glimpses of Apokoliptian technology during Jack Kirby's initial saga. These incidents pulled Olsen into the cosmic conflict, underscoring the Fourth World's infiltration of Earthly affairs.

Major Storylines and Titles

Original Kirby Titles

launched the Fourth World saga in 1970 through a series of interconnected titles published by DC Comics, beginning with his run on and expanding into three original series: , The Forever People, and . These works established the core mythology of the New Gods, pitting the utopian world of New Genesis against the tyrannical regime of in a cosmic struggle that blended , mythology, and . Kirby's integration of Fourth World elements into Superman's Pal, Jimmy Olsen (issues #133–139 and #141–148) served as the saga's entry point, introducing as the ominous ruler of and revealing his infiltration of Earth through and . Jimmy Olsen and encounter DNAliens—cloned minions created via Project Cadmus, a secret genetic engineering facility—and the revamped , tying the superheroic adventures to broader cosmic threats from the . This run laid the groundwork for the larger narrative by depicting Darkseid's subtle manipulations on Earth, foreshadowing the impending interstellar conflict. In New Gods (1971–1973), the central title of the saga, Orion—raised on New Genesis but bearing the face of his father —leads a quest to thwart Apokolips's invasion of Earth, confronting minions like and Kalibak while uncovering 's pursuit of the , a formula to enslave hidden in human minds. The series culminates in issue #7's "The Pact," where inventor Himon sacrifices himself to forge a fragile between of New Genesis and , originating the child-exchange pact that placed Orion and Scott Free in opposing homes to avert . This storyline innovated by weaving epic god-war lore with personal heroism, emphasizing themes of destiny and rebellion. The Forever People (1971–1972) followed a group of youthful —, Mark Moonrider, Serifan, , and Vykin—who travel to Earth via Boom Tubes, embodying a countercultural, hippie-inspired ethos of peace and exploration while battling Apokoliptian agents like the evil sect led by Billion-Dollar Bates. Armed with the Super-Cycle and , they transform into the powerful to combat threats, blending youthful rebellion with mystical defense of humanity against Darkseid's influence. The series highlighted Kirby's innovative fusion of 1970s youth culture with cosmic adventure, portraying the as free-spirited harbingers of New Genesis ideals. Mister Miracle (1971–1974) centered on , Orion's adoptive brother and a native of who escapes 's orphanage to become Earth's greatest escape artist under the mantle of . His adventures involve death-defying stunts against pursuers like —initially his foe but soon his romantic partner and fellow defector—while evading Darkseid's forces and mentoring under . The narrative explored Scott's internal conflict with his tyrannical origins, using elaborate traps as metaphors for breaking free from oppression, and culminated in his wedding to Barda, symbolizing hope amid the saga's looming war. The original titles interconnected through frequent crossovers, with characters and plot threads weaving across series to build a unified saga of escalating tension between New Genesis and , such as Orion's battles linking to the Forever People's encounters and Scott Free's escapes intersecting Jimmy Olsen's investigations. This structure allowed Kirby to develop a sprawling narrative foundation, innovating serialized by treating the as a of impending cosmic war rather than isolated stories.

Fifth World Developments

The concept of the Fifth World emerged in Jack Kirby's later stories during his return to DC Comics, where he envisioned it as the subsequent evolutionary phase following a cataclysmic Ragnarok that would end the and birth a new generation of gods. This progression built on the original 's themes of conflict between New Genesis and , positioning the Fifth World as a higher plane of divine evolution beyond the current . Kirby's expansions emphasized cycles of destruction and renewal, setting the stage for future interpretations. Walt Simonson's Orion series (2000–2002) further developed this lore by depicting the escalating tensions leading to Ragnarok, portraying the Fifth World as the emergent reality born from the Fourth World's demise. In the storyline, Orion confronts amid prophecies of apocalyptic change, with the narrative culminating in events that foreshadow the rebirth of godlike beings on a grander scale. Simonson's work highlighted the Fifth World as an inevitable next stage, integrating Kirby's foundational ideas with dynamic action and mythological depth. Grant Morrison's (2008) prominently featured the Fifth World as a contested higher plane, where seeks to conquer Earth and transform it into his tyrannical version, enslaving humanity through the . battles Mandrakk, the vampiric Dark Monitor threatening the , ultimately using the Miracle Machine—a device that manifests thoughts into reality—to envision and enact a heroic resolution, preserving the potential for a benevolent Fifth World. This event underscored the Miracle Machine's role, originally crafted by the Controllers of Oa, as a pivotal artifact bridging imagination and cosmic creation. The death and rebirth cycle central to Fifth World lore was explored in Jim Starlin's Death of the New Gods (2007–2008), where the Source orchestrates the systematic demise of the Fourth World's inhabitants to pave the way for new divine generations. In the era, these concepts integrated into broader narratives like : (2015–2016), positioning Fifth World elements as multiversal archetypes that underpin conflicts across realities. (2016 onward) continued this by portraying as enduring influences shaping all DC universes, with the Fifth World's evolutionary themes echoing in stories involving Orion, , and cosmic threats.

Modern Revivals and Interpretations

In the mid-2010s, ' ": The " storyline revitalized mythology by centering a cataclysmic conflict between and the , which delved into Darkseid's origins as Uxas and culminated in events that killed multiple gods, reshaping the cosmic balance. This arc, spanning Justice League #40-50 (2015-2016) with art by and others, positioned the as a pivotal force in the , emphasizing themes of divine mortality and interdimensional warfare. By the late 2010s, elements permeated broader DC titles, notably Joshua Williamson's Justice League Odyssey (2018-2020), where a makeshift team including , Starfire, , and operated in the Ghost Sector adjacent to , contending with exiles, Darkseid's machinations, and prophecies foretelling the 's end. The series highlighted Apokoliptian refugees and threats like the colony world of , blending Kirby's cosmic stakes with survivalist exile narratives amid Darkseid's preparations for multiversal upheaval. The saw a fresh resurgence with Ram V and Evan Cagle's The New Gods (2024-ongoing), launched under DC's All-In initiative, which reimagines the following the death of an old god and the birth of new ones, incorporating refugees fleeing to New Genesis for sanctuary. Key plot threads involve protecting the infant Kamal from void-born enigmas and cosmic voids that threaten reality, infusing the with haunting cosmic horror elements as gods grapple with rebirth amid existential decay. By issue #10 (September 2025), the narrative escalates around Kamal's role in averting further unraveling, with art by Cagle and Pye Parr emphasizing eerie, otherworldly voids. Issues #11 and #12 (October-November 2025) continue this escalation, deepening the conflicts with intergalactic armies awakened by the old god's death and further exploring the moral ambiguities of divinity. These modern interpretations mark a departure from Jack Kirby's original optimistic exploration of godhood and , pivoting toward darker, multiversal threats that reflect contemporary anxieties about chaos and in the DC All-In era. Ram V's approach, in particular, portrays no as purely benevolent or malevolent, drawing on mythological to amplify horror-tinged conflicts over Kirby's aspirational heroism.

Collected Editions

Trade Paperbacks

The trade paperback collections of Fourth World material provide accessible entry points for readers into Jack Kirby's original saga and subsequent interpretations, typically reprinting key issues from the series alongside later developments in standard binding formats. These editions emphasize affordability and portability compared to larger compilations, allowing fans to explore the cosmic mythology of New Genesis and Apokolips through individual volumes or focused anthologies. Early trade paperbacks focused on Kirby's core titles, starting with standalone volumes for each series. Jack Kirby's New Gods (DC Comics, December 1997, ISBN 978-1-56389-385-8) collects The #1–11, introducing central figures like Orion and in their debut adventures across 304 pages. Similarly, Jack Kirby's Forever People (DC Comics, November 1999, ISBN 978-1-56389-512-8) gathers The #1–11, showcasing the youthful Boom Tube-wielding heroes in 208 pages of Kirby's innovative storytelling. Jack Kirby's Mister Miracle: Super Escape Artist (DC Comics, September 1998, ISBN 978-1-56389-457-2) compiles Mister Miracle #1–10, highlighting Scott Free's feats and personal struggles in 256 pages. These volumes, part of DC's late-1990s reprint initiative, preserve Kirby's original artwork in color while omitting later issues to focus on the foundational . A complementary collection, by (DC Comics, April 2019, ISBN 978-1-4012-8885-5), reprints #133–139 and #141–148, integrating the Fourth World's incursion into the mythos through Jimmy's encounters with the and DNAliens in 360 pages. For Kirby's concluding work, The Hunger Dogs (DC Comics, 1985, ISBN 978-0-930289-01-0), a standalone 64-page , depicts the cataclysmic fall of and Darkseid's desperate gambit, serving as an to the original run. These editions collectively cover the bulk of Kirby's 1970–1973 output, with The Hunger Dogs often bundled in later reprints but available individually as an early trade-format release. Later trade paperbacks extend the Fourth World into modern narratives. by Tom King and Mitch Gerads (DC Comics, 2019, ISBN 978-1-4012-8354-4) collects (2017 series) #1–12 across 320 pages, reimagining Scott Free's life with amid psychological trauma and fatherhood, earning acclaim for its intimate take on Kirby's creation. For John 's 1990s revival, the contents of Genesis #1–4 and #1–4 are included in later omnibus editions bridging Kirby's legacy with Byrne's updates on Orion and Metron. A collection of Byrne's miniseries appears in the 2021 (ISBN 978-1-77951-017-4). These volumes highlight the Fourth World's enduring adaptability, prioritizing character-driven stories over exhaustive continuity.

Absolute and Omnibus Editions

The Jack Kirby's Omnibus series represents a premium collection of the original Fourth World saga, published by DC Comics in oversized hardcover formats to showcase Kirby's pioneering artwork and epic narrative scope. Volume 1, released in October 2007, comprises 736 pages and collects #133–139 and #141–148, #1–3, #1–3, and #1–3, along with a foreword by , an afterword by , and original concept sketches by Kirby. Subsequent volumes continue the chronological presentation, with Volume 4, published in December 2012, spanning 424 pages and gathering the concluding 1970s issues of #11, #11, and #11–18, Kirby's graphic novels The Hunger Dogs and The Promethean Giant, mid-1980s entries featuring Fourth World characters, and Super Powers #1–5 and #7–9 from 1985, plus over 50 pages of behind-the-scenes material including annotations by . DC's Absolute Fourth World by Jack Kirby editions, launched in 2020, offer deluxe slipcased hardcovers with restored and remastered art to emphasize Kirby's visual techniques and thematic depth. Volume 1, with 816 pages, reprints Superman's Pal Jimmy Olsen #133–139 and #141–145, The New Gods #1–6, The Forever People #1–6, and Mister Miracle #1–6, featuring enhanced coloring and annotations on Kirby's innovative page layouts and character designs. Volume 2, released in 2021 and totaling 840 pages, covers The New Gods #7–11, The Forever People #7–11, Mister Miracle #7–10, Superman's Pal Jimmy Olsen #146–148, Kamandi #1–3, and 1st Issue Special #1, including additional commentary on Kirby's evolution of the New Gods mythology. Several of America omnibus editions incorporate Fourth World crossovers, expanding Kirby's universe into broader DC sagas while preserving his artistic influence. The JLA by Omnibus, for instance, collects stories from 1997–2000 where and Apokoliptian forces clash with the League, highlighting Kirby's concepts in a modern context through oversized presentation of key arcs like "Rock of Ages."

Recent and Deluxe Collections

In the 2020s, DC Comics has continued to expand its collected editions of material through the DC Finest line, emphasizing high-quality trade paperbacks that reprint foundational stories with restored artwork and new introductions. One notable release is DC Finest: – When the Old Gods Die, scheduled for June 23, 2026, which collects Jack Kirby's early titles including #1–4, #1–5, #1–4, and #133–134. This edition highlights the saga's origins, featuring Kirby's original vision of the conflict between New Genesis and , and includes contributions from writers like for contextual essays. Building on contemporary interpretations, the 2024 New Gods series by writer Ram V and artist Evan Cagle has seen its initial arcs gathered into deluxe volumes. The New Gods Vol. 1: The Falling Sky, released on August 26, 2025, collects issues #1–6, exploring the aftermath of Darkseid's death and the rebirth of the with cosmic-scale narratives and variant covers by Cagle. This hardcover edition, priced at $24.99, reshapes mythology for modern readers while tying into broader events. A second volume, The New Gods Vol. 2: Edge of Darkness, is scheduled for March 24, 2026 to continue the storyline, featuring additional issues and special variants that emphasize the series' innovative artwork. Complementing these comic reprints, non-fiction deluxe publications have provided deeper analysis of Kirby's creation. The Jack Kirby Collector #80: Old Gods & New, a 2020 special issue from TwoMorrows Publishing, serves as a 160-page companion book focused on essays, interviews, and historical context rather than reprinted . It includes Kirby's original ending for New Gods, discussions on the series' cancellation, and contributions from creators like , offering deluxe insights into the 's development. Looking ahead, DC's 2026 DC Finest expansions are set to further integrate Fifth World elements, with additional volumes potentially linking Kirby's classics to later narratives, though specifics remain tied to ongoing announcements. These releases underscore DC's commitment to accessible, premium formats for content in the 2020s.

Legacy

Critical Reception and Awards

Upon its initial publication in the early 1970s, Jack Kirby's series received praise for its ambitious world-building and innovative fusion of mythology with tropes, though critics often noted its dense, interconnected narratives as challenging for casual readers. Despite creative acclaim, the series faced commercial struggles, with low sales prompting DC Comics to cancel most titles by 1973 after just 11 issues of New Gods and shorter runs for others. Kirby himself garnered formal recognition for the Fourth World during this period, earning the 1971 Shazam Award for Special Achievement by an Individual for his work across New Gods, The Forever People, Mister Miracle, and Superman's Pal Jimmy Olsen. His broader contributions to comics, including the Fourth World's lasting mythic framework, led to his induction as one of the three inaugural members of the Will Eisner Comic Book Hall of Fame in 1987, alongside Carl Barks and Will Eisner himself. This honor underscored the retrospective influence of Kirby's Apokolips-New Genesis saga on the genre's evolution. Subsequent revivals and reinterpretations of Fourth World elements have earned widespread critical acclaim and additional awards. Grant Morrison's Final Crisis (2008), which wove Fourth World mythology into a DC Universe crossover, was praised for revitalizing Kirby's cosmic themes with modern narrative flair. Tom King and Mitch Gerads' Mister Miracle (2017-2018), a psychological reimagining of Kirby's escape artist, won the 2019 Eisner Award for Best Limited Series, with King also securing Best Writer for the title's exploration of trauma and fatherhood amid Apokoliptian threats. The series received further Eisner nods for Best Penciller/Inker (Gerads) and Best Cover Artist, cementing its status as a high-water mark for Fourth World adaptations. The New Gods series launched in late 2024 by writer Ram V has drawn early positive reviews for its haunting sci-fi tone and fresh takes on Kirby's lore in a post-Darkseid era. Critics have lauded issues like #1 and #2 for their suspenseful plotting, emotional depth in character arcs—particularly for Orion and —and stunning artwork that evokes Kirby's bombastic style while adding contemporary grit, with aggregate scores averaging 8.5/10 across major review sites as of mid-2025. By November 2025, the series has reached at least issue #12, with outlets such as AIPT Comics highlighting the run's inventive blend of cosmic horror and family drama, positioning it as one of DC's standout titles of the year.

Cultural Impact and Adaptations

The saga, created by , has profoundly shaped the landscape of and , particularly through its introduction of as an archetypal ultimate villain embodying tyrannical godhood and cosmic conquest. 's character, with his unyielding quest for the and dominion over , established a template for god-like antagonists in modern storytelling, directly influencing Marvel's in Jim Starlin's sagas, where mirrors 's pursuit of universal control via the . This influence extends to broader sci-fi narratives, where themes of and anti-utopian control—central to the ' conflict between New Genesis and —resonate in works like George Lucas's Star Wars Empire and the dystopian regimes in adaptations. Within DC Comics continuity, the Fourth World has become integral to Justice League lore, serving as a foundational element for interstellar threats and mythological epics. Darkseid has appeared in over 100 comic issues since his debut, solidifying his role as a recurring adversary that transcends individual titles and anchors major crossovers. The saga's concepts inspired pivotal events like (2005-2006), where echoes of the ' cosmic war and the Source Wall informed the multiversal restructuring narrative. Adaptations of Fourth World elements have extended its reach into animation and interactive media, though live-action efforts remain limited. Episodes in : The Animated Series (1998-2000), such as "Apokolips... Now!" and "Little Girl Lost," directly adapted Kirby's Apokolips invasion storyline, introducing to a wider audience through by . The series (2010-present) incorporated arcs, notably in Season 4's "Beyond the Grip of the Gods!" storyline, featuring direct interactions with like , Orion, and Lightray in themes of interstellar alliance and conflict. Unproduced film scripts by Kirby himself in the 1970s envisioned a big-screen epic, while has been voiced in Lego DC video games like Lego 2: DC Super Heroes (2012), blending the mythology with family-friendly action. Kirby's has been recognized in comics scholarship as a blueprint for expansive shared universes, innovating mythological structures that blend with Wagnerian on a scale. Scholars cite its influence on the integration of serialized epics across titles, paving the way for modern interconnected narratives in both DC and Marvel, as explored in academic analyses of Kirby's "" as a paradigm for world-building in .

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