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New Gods
New Gods
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New Gods
Artwork of the New Gods, Magnificent Seven.
Art by Alex Ross.
Species publication information
PublisherDC Comics
First appearanceThe New Gods #1 (February/March 1971)
Created byJack Kirby (writer and artist)
Characteristics
Place of originNew Genesis, Apokolips
Notable membersList of New Gods
The New Gods or New Gods
Series publication information
PublisherDC Comics
ScheduleVol. 1
Bimonthly
Vol. 2–5
Monthly
FormatVol. 1, 3, 4, 5
Ongoing series
Vol. 2 and Death of the New Gods
Limited series
Genre
Publication date(Vol. 1)
February/March 1971 – October/November 1972
(Vol. 1 continued)
July 1977 – July/August 1978
(Vol. 2)
June 1979 – November 1984
(Vol. 3)
February 1989 – August 1991
(Vol. 4)
October 1995 – February 1997
(Death of the New Gods)
Early December 2007 – June 2008
(Vol. 5)
December 2024
Number of issuesVol. 1
19
Vol. 2
6
Vol. 3
28
Vol. 4
15
Death of the New Gods
8
Vol. 5
3
Creative team
Writer(s)
List
Penciller(s)
List
Inker(s)
List
Collected editions
Jack Kirby's New GodsISBN 1-56389-385-1

The New Gods are a fictional extraterrestrial race appearing in the eponymous comic book series published by DC Comics, as well as selected other DC titles. Created and designed by Jack Kirby, they first appeared in February 1971 in New Gods #1.

Publication history

[edit]

Volume 1 (1971)

[edit]

The New Gods are natives of the twin planets of New Genesis and Apokolips. New Genesis is an idyllic planet filled with unspoiled forests, mountains, and rivers and ruled by the benevolent Highfather, while Apokolips is a nightmarish, polluted dystopia filled with machinery and fire pits, ruled by the tyrannical Darkseid. The two planets were once part of the same world, a planet called Urgrund (German for "primeval ground"), but it was split apart millennia ago after the death of the Old Gods during Ragnarök.[1] The characters associated with the New Gods are often collectively referred to as "Jack Kirby's Fourth World". Unhappy with Marvel Comics at the time, as he had created or co-created a plethora of characters without having copyright or creative custody of them, he turned to rival publisher DC Comics, with his sketches and designs for a new group of heroes and villains.[2] As author Marc Flores, who writes under the pen name Ronin Ro,[3] 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.[4]

Kirby began the "Fourth World" in Superman's Pal Jimmy Olsen #133 (October 1970).[5][6] The New Gods first appeared in New Gods #1 (February–March 1971)[7][8] and Forever People #1 (February–March 1971).[9][10] Another "Fourth World" title Mister Miracle was launched in April 1971.[11][12] Various New Gods, notably Darkseid, went on to interact with other denizens of the DC Universe.[citation needed]

New Gods #1 marks the first appearance of Orion, Highfather, and Metron, among others. The opening sequence alludes to the presence of the "Old Gods" and the "New Gods" (e.g., "There came a time when the Old Gods died..."). Simultaneously published during this time were the Forever People and Mister Miracle series, also written and drawn by Kirby.[13]

Kirby fans consider the three-issue arc in New Gods #6–8 to be the peak of Kirby's artistic work.[14] Jason Sacks and Keith Dallas say that issue #6, "The Glory Boat", "juxtaposes several of [Kirby's] favorite themes: the conflict between generations, the ways that pacifism is forced to confront violence, and, of course, the continuing battle between Apokolips and New Genesis, all drawn in some of the most spectacular art of his career."[15] Charles Hatfield says that the story's conclusion:

"...is a pure example of Kirby's technological sublime, at once redemptive and seductive, healing and cataclysmic... This rhapsodic episode suggests a glorying in, but also a fearful ambivalence about, the blurring of the living and the technological."[16]

Issue #7, "The Pact", sought to explain the backstory of the New Gods. Sacks and Keith said:

"While the story can also be read as a commentary and critique of the Vietnam War (as it's all about the ambiguity and moral costs of war), 'The Pact' is a creation myth in comics form, providing readers deeper context about both the struggle between Apokolips and New Genesis and the great sacrifices that have to be made to create peace in the face of overwhelming destruction."[15]

Despite the creative strength of Kirby's material, the book's sales slipped steadily after a strong start. New Gods was cancelled with issue #11 (Oct–Nov 1972), and the last issue of Forever People was also #11 (August–September 1972). The Apokolips/New Genesis war was left unresolved.[15]

Kirby's production assistant at the time, Mark Evanier, explained:

"Folks forget but the New Gods saga was intended to be a limited series ... There was no intention that these characters would go on forever. After Jack's books started getting good sales figures, DC demanded that we keep them going and use guest stars like Deadman, which we were very much against doing. So Kirby had this novel he was forever stuck in the middle of – he could never get to the last chapter. ... You can spot the issues where Jack kind of gave up trying to advance the story of Darkseid and Orion and was marking time. If those books had been intended from the start to run indefinitely, they would have been done very differently."[17]

Despite the sales failure of the book, Kirby's work has remained an inspiration for future comics creators. Comics historian Les Daniels observed in 1995:

"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."[18]

In 2007, comics writer Grant Morrison commented:

"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."[19]

Return of the New Gods (1977)

[edit]

In 1976, the New Gods were featured in the last issue of 1st Issue Special, written by Gerry Conway and Dennis O'Neil and pencilled by Mike Vosburg.[20] The issue featured a new, more mainstream superhero costume for Orion, which he would wear for the next few years, but failed to lead to a relaunch. That same year, Jenette Kahn became DC's new publisher and decided to revive the "Fourth World" lineup in 1977.[21] 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".[7][22] Conway wrote the series and Don Newton provided the pencils.[23]

The series introduced the character Jezebelle. It was cancelled with issue #19 (July–August 1978) prior to the "DC Implosion", where a variety of market-related factors caused DC to cancel almost all of the titles launched the previous year.[21] The final chapters of the series were published as backup features in the Adventure Comics #459–460 (1978) featured a climactic battle between Darkseid's forces and the New Gods, culminating in Darkseid's defeat and apparent "death." Conway later said that he felt the finale he provided for the New Gods saga was inadequate, though he greatly enjoyed working with Newton on the series.[21]

The New Gods met the Flash in Super-Team Family #15 (March–April 1978).[24]

Darkseid's "death" would quickly be overturned in the New Gods' next appearance in Justice League of America #183–185. The three-part storyline would tell of Darkseid's return to Apokolips and his scheme to destroy Earth-Two and teleport Apokolips into its place, so that he could conquer a new universe devoid of the New Gods. The plan would be foiled by the combined power of the New Gods, the Justice League, and the Justice Society.

Volume 2 (1984)

[edit]

Essentially a reprint series, this volume packaged two issues apiece per single issue of the original 1971 series.[7][25][26] The mini-series' final issue was originally intended to include a reprint of New Gods #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.[27] Kirby instead turned in a one-off story called "On the Road to Armagetto" which was also rejected, due to the fact that it did not contain a definitive ending to the series.[27] A 48-page new story called "Even Gods Must Die" was published in the sixth issue of the reprint series instead, which in turn served as a prologue for the upcoming The Hunger Dogs graphic novel, which DC editors greenlighted to conclude the series.[27]

The Hunger Dogs

[edit]

Published as DC Graphic Novel #4, The Hunger Dogs was intended by Kirby and DC to serve as the end to the entire Fourth World saga.[28] The project was mired in controversy over Kirby's insistence that the series should end with the deaths of the New Gods, which clashed with DC's demands that the New Gods could not be killed off.[citation needed]

As a result, production of the graphic novel suffered many delays and revisions. Pages and storyline elements from the never published "On the Road to Armagetto" were revised and incorporated into the graphic novel, while DC ordered the entire plot restructured, resulting in many pages of the story being rearranged out of Kirby's intended reading order.[29][30]

In the end, The Hunger Dogs saw the tormented, slave population of Apokolips rise up against Darkseid in a massive slave revolt, forcing Darkseid to flee his homeworld. This ending would not last, as Darkseid would reclaim Apokolips off-panel prior to the events of the 1986 Legends crossover.[citation needed]

Volume 3 (1989–91)

[edit]

Following the Cosmic Odyssey limited series by Jim Starlin and Mike Mignola,[31] a new New Gods series was launched. Written by longtime Kirby assistant Mark Evanier, with co-author and penciler Paris Cullins, this would be the most lengthy New Gods run yet. Coming in at 28 issues, this volume was published from February 1989 to August 1991.[7][32] This series is sometimes considered volume 2, as the aforementioned volume 2 was essentially a reprinting of volume 1.[citation needed]

Volume 4 (1995–97)

[edit]

Originally written by Tom Peyer and Rachel Pollack, and pencilled by Luke Ross, volume 4 of New Gods ran from October 1995 until February 1997.[7][33] It was taken over by John Byrne for issues #12–15 at the end of the series; this title would be renamed as Jack Kirby's Fourth World, also by Byrne, with numbering reset to issue #1, and covers provided by Walt Simonson. Walt Simonson's Orion series, which continued to host the backup feature "Tales of the New Gods", began in Byrne's Jack Kirby's Fourth World and served as an extension of it. Simonson wished to simply title his series "New Gods", but DC felt the name had been used too much recently.[34]

John Byrne's one-shot issue Darkseid vs. Galactus: The Hunger also appeared in October 1995.[citation needed]

2007–2024

[edit]

Death of the New Gods and Final Crisis

[edit]

Taking place in both the yearlong series Countdown to Final Crisis (2007–2008) and its spin-off, Death of the New Gods, written by Jim Starlin,[35][36][37] was a story-arc involving the mysterious deaths of the New Gods across the universe in preparation for the coming storylines in Grant Morrison's Final Crisis, published later in 2008. As elaborated in Death of the New Gods, the mysterious Godkiller turned out to be an agent of the sentient Source itself, which sought to destroy the imperfect Fourth World—compromised by the disruption in its creation by the Old Gods—in favor of a more perfect "Fifth World" by reuniting the Source with the Anti-Life Equation. The Source's initial attempts to recreate the Fifth World had been hampered by the Crisis on Infinite Earths which unified the multiverse and forged an impenetrable Source Wall around the Anti-Life Equation. The Source's agent is revealed to be the New God Infinity-Man. Darkseid acquires the powers of the Anti-Life Equation and capitalizes on the deaths of the New Gods by using the human Jimmy Olsen as a "soul-catcher" for the Gods, from which he can claim all their powers and recreate the universe in his own image, but he is killed when the Source is able to send Darkseid's resurrected son, Orion, to rip out his heart. Orion leaves the scene of the fray to die of his own wounds; and, seemingly with success, the Source entity reunites with the Anti-Life entity and merge Apokolips with New Genesis to create the Fifth World, with the New Gods of the Fourth World all deceased.

In DC Universe #0, a bridge between the Countdown and Final Crisis limited series, Darkseid is resurrected on Earth. In Final Crisis, Darkseid and his minions now exist on Earth in the guises of organized criminals, with Darkseid taking the name "Boss Dark Side". Other New Gods, such as Metron and the Black Racer, also appear reborn in newer, more elaborate Fifth World incarnations. Orion is discovered dead by detective Dan Turpin, prompting the Guardians of the Universe to launch an investigation. Batman surmises that Orion was in fact killed not of injuries from battling Darkseid, but by a sort of bullet sent backwards in time. Darkseid spreads the Anti-Life Equation among the human population, creating monstrous slaves out of its victims as he ushers in the Final Crisis of Mankind. Shilo Norman begins recruiting an army, warning of a war in heaven having occurred where evil won. Darkseid similarly claims to have ultimately come out of this war in heaven the victor. The villain Libra reappears on Earth after a long absence, making promises to the villains of Earth in the name of the deity he worships.

Grant Morrison addressed what they described as "the disconnects that online commentators, sadly, seem to find more fascinating than the stories themselves", by explaining that they provided a rough draft of the first issue, and an outline of the plot, before the writing began on Countdown and Death of the New Gods.[38] They outlined their thinking on the issues of continuity between the stories by stating that they "started writing Final Crisis #1 in early 2006, around the same time as the 52 series was starting to come out, so Final Crisis was more a continuation of plot threads from Seven Soldiers and 52 than anything else."[38]

As the events of Final Crisis unfold, it is revealed that the evil gods of Apokolips have been hiding in human bodies, and some have their bodies "rebuilt" for them in the Evil Factory, formerly the Command-D bunkers in Blüdhaven. Darkseid inhabits the body of Dan Turpin, after Turpin finally succumbs to the evil god. Kalibak inhabits a new body, that of a humanoid tiger, leading a team of similar creatures in battle. Mokkari and Simyan appear, looking more or less identical to their previous forms, with no explanation given to where their bodies came from. Granny Goodness takes up residence in the Alpha Lantern Kraken, using her to attack the Guardians of the Universe, while DeSaad inhabits the body of Mary Marvel. The Female Furies themselves are not shown to still exist, but they are recreated using Anti-Life controlled heroes and villains in the forms of Wonder Woman, Batwoman, Catwoman, and Giganta.

At the conclusion of the series, the essence of Darkseid is destroyed; the New Gods, are resurrected and reborn; and Nix Uotan implies that they will guide the recently destroyed Earth-51, restoring it to prosperity and peace. Nix also indicates that the Super Young Team are the new Forever People of the Fifth World.

Post-Final Crisis

[edit]

In an interview with Newsarama, DC executive editor Dan DiDio spoke of the future of the New Gods in the DC Universe, saying, "The other thing we'll give a rest to as well is the concept of the New Gods and the ideas surrounding them. There's a very clear conclusion to the New Gods’ storyline in Final Crisis #7. The good part about it is that readers will see that ending, and we won't have to return to it right away. Like the Multiverse, the New Gods will be out there and available to us, and we can use them when we see fit, and feel the time is right. Just because we introduced concepts doesn't mean that we have to constantly use them."[39]

The New 52

[edit]

In September 2011, The New 52 rebooted DC's continuity. In this new timeline, Darkseid first appears in Justice League #4. DeSaad and Steppenwolf also briefly appear in this story arc, experimenting on Superman and referring to "the search for Darkseid's daughter", explaining Darkseid's actions throughout infinite and his assault and assimilation of various worlds throughout the multiverse.[40] In subsequent issues it is revealed that Cyborg's teleportation powers are linked to the Boom Tubes, thanks to upgrades performed by his father utilizing the Mother Box found by the team in their initial adventure, and that every 1,000 times he uses this technology, a glitch in it transports him and his Justice League comrades to Apokolips.[41]

In the pages of Earth 2 #1, it is revealed that Darkseid's search has also resulted in his traversing the array of worlds invading this parallel Earth. Unlike his encounters in Justice League, this one is far more successful, resulting in the death of that Earth's Superman, Batman and Wonder Woman; in the midst of this war, Power Girl and Huntress somehow traverse into the realm of Prime-Earth.

It is teased that the fall of the Olympian Gods will lead to the creation of New Gods, but not stated if they mean the race of New Gods populating the Fourth World or simply newer younger gods. A figure, with Orion's helmet, appears in shadow then disappears into a Boom Tube.[42] Orion fights against, then assists Wonder Woman in her struggle with the gods of Olympus and the monstrous First Born of Zeus, eventually leading her and the Last Born of Olympus to New Genesis and its leader: Highfather. While Highfather appears much younger than his pre-Flashpoint incarnation, New Genesis appears much the same, consisting of a futuristic floating city above a mostly rural world covered in forests.[43]

In the Darkseid special issue, it is revealed that he and Highfather are some of the only survivors of a previous larger world, where they were brothers and peasants. Their world was also inhabited by colossal beings known as Old Gods, who spent much of their time brawling with each other, feeding off the worship of the 'mudgrubbers', whose lives were often lost in the battles. One day the man formerly known as Uxas, having tired of his idol's destructiveness, decided to spark a war between them which would in turn devastate their world fatally wounding his sister, Izaya's first wife, after which he opted to kill all the wounded Old Gods, steal their powers and bring about a new order. One by one, the Old Gods were destroyed by Darkseid, who became more horrific in turn as he leeched their essence from them. As Darkseid's schemes started to tear the planet apart, Highfather ran with his wounded Avia in hand towards one of the last and greatest of the Old Gods, acknowledging his time had come and passed he chose to pass on the last of his power to reward Izaya's beloved's devotion to them. Empowered in a blinding flare of light, Highfather arose as a New God to battle Darkseid. The brothers, now equal, tore the world apart during their battle, leaving them to rebuild on the remains, which became Apokolips and New Genesis.

It was his search for what was believed to be his daughter Kaiyo that Darkseid came to traverse and enslave various worlds and universes throughout the 52 realities spanning existence, leading up to his first invasion of Earth 2 as well as the incursion of countless other Earths along the DCnU, up until the core world of Prime Earth where he battled and lost against the Justice League when they first formed to battle his invasion.

After countless eons of infighting proceeding after the fall of the Old World, Darkseid and Highfather would eventually be forced into conflict against their demented father and King of the Old Gods, Yuga Khan. Livid at the fact his sons ended up killing and usurping the powers of all the Old Gods of Urgrund save himself, he utilized the power of the Anti-Life Equation to reanimate his fallen subjects, while using his own powers to suppress his sons' New God Abilities, all to prevent the rise of the New Gods standing before him. When Zonuz was prepping to deliver the killing blow, Uxas crept up from behind and ended him, reducing his resurrected army back to the dust they were recreated from and sending the Old God back to the Source.

For a time, both brothers would raise their dead world back from the devastation wreaked by their previous conflicts, dubbing it Genesis with Izaya eventually remarrying, up until for undisclosed reasons Darkseid killed Highfather's new wife away from prying eyes, save those of his sibling's. Another war would commence pitting the former's faction against the self-titled God of Evil, which devastated the world they made together.[44] With the losses tallied on both sides, a ceasefire was eventually called with Darkseid eventually slinking back into the darkness, while Highfather wept over the loss of their new home. Over time, a peace treaty would be forged in which Izaya would lose the compassionate part of himself to the Source to make him go through with it. Exchanging their sons like in the previous continuity would not stop Darkseid from waging wars of conquest across reality however, so Highfather brokered another treaty where Darkseid would only attack the Earth 2 dimension while leaving the other infinite Earths untouched.[45]

Over time, the core universe where Apokolips first suffered defeat from would have more interactions with the New Gods of both New Genesis; created by the now-militant Highfather, as well as those of Apokolips; domain of the malevolent Darkseid and his elite followers.

Volume 5 (2024–present)

[edit]

The New Gods volume 5 is written by Ram V with art from Jorge Fornes and Evan Cagle. A continuation of the New Gods storyline from past volumes and recent DC stories, the volume depicts the afthermath of Darkseid's apparent death in DC All In Special. It centres on Orion's moral quandary after he is sent to Earth to kill "an emergent New God" infant who will "upset the balance" between Apokolips and New Genesis;[46] the awakening of the child, Kamal, was the universe attempting to correct Darkseid's disappearance into the Absolute Universe through the creation of a god of evil.[47] In parallel, the series deals with a plot from the Nyctari, a powerful alien species descended from the Old God Nyctar, who were previously enslaved by Darkseid and who intend to commit genocide against the New Gods.[48]

Setting

[edit]

Apokolips

[edit]

New Genesis

[edit]
New Genesis
Art by George Pérez (penciller), Karl Kesel (inker), and Tom Ziuko (inker).
RacesNew Gods, Bugs

New Genesis is the home of the New Gods, who live in the floating city of Supertown.[49][50] The surface is inhabited by the "Bugs" and the Primitives, with the former being considered a lesser class.

New Genesis and Apokolips exist in a different plane of existence located near the Source, and can only be accessed via Boom Tube portals.[51][52][53][54]

New Genesis as depicted in Who's Who in the DC Universe #7 (February 1991). Art by Ed Hannigan and Tom Blyberg.

New Genesis and Apokolips were created after the destruction of the Old Gods' home planet of Urgrund and respectively seeded with good and evil essences by Balduur and an unnamed sorceress.[55] Through Darkseid's manipulation, the two planets enter a devastating war before Highfather enacts a temporary truce.[56][57]

The conflict between the two planets symbolizes the struggle of good and evil on a grand mythic scale. However, despite representing good, New Genesis and its inhabitants are not entirely perfect. Biographer Charles Hatfield writes, "The saga turns out to be not so simple, for Kirby — and this is revealing – blurs the seeming idealized perfection of New Genesis, adding complexity to his gods."[58] Similarly, John Morrow writes, "Kirby knew that his New Genesis was no heaven. Rather, it was more like the free West during the Cold War, which was threatened by forces from within as well as without."[59]

Locations on New Genesis include:

  • Asylum of the Gods – An insane asylum where New Gods who have gone mad are incarcerated.[60]
  • Bug Mound – The home of the Bugs of New Genesis.
  • Lonar's Range – An area of wilderness where the Primitives live.
  • Singularity Stockade – A multiversal prison.[61]
  • Supertown – A floating city that is the capital of New Genesis and the home of the New Gods.[50]

Later continuity events

[edit]

In Genesis, Highfather is killed and succeeded by Takion.

In Seven Soldiers, New Genesis and Apokolips are destroyed before the Source entity recreates them as a singular planet. Additionally, most of the New Gods are killed during Final Crisis before being resurrected.

In "The New 52" reboot, New Genesis' surface is littered with the ruins of previous cities that were devastated in its conflict with Apokolips.[62] Additionally, New Genesis technology was used to create OMAC.[63]

Characters

[edit]

New Gods of New Genesis

[edit]
  • Highfather – Izaya the inheritor, the spiritual as well as the political leader of New Genesis.
  • Antinoos – Head of Commerce on New Genesis.
  • Astorr – The original Infinity-Man.
  • Atinai – The builder of New Genesis' architecture, buildings, and cities.
  • Avia – A flyer, the first wife and advisor of Izaya the inheritor who will become Highfather. She is later killed by Steppenwolf.
  • Avia II – The daughter of Scott and Barda Free, granddaughter of Izaya, Avia and Big Breeda and adopted niece of Orion and Bekka of the Kingdom Come reality.
  • Big Barda – The former leader of the Female Furies and Scott Free's wife.
  • Black Racer – An elemental force capable of dealing death with a single touch, avatar of Death in the DC Comics universe who often hunts those affiliated with the New Gods.
  • Bugs – A race of humanoid insects.
    • All-Widow – Queen of the Bugs of New Genesis.
    • Forager – A warrior Bug of New Genesis and ally of Orion.
    • Forager – A female warrior Bug of New Genesis and successor of the first Forager.
    • Prime One – The leader of the Bugs of New Genesis and Forager's mentor.
  • Celestia – A flier, friend of Harmon.
  • Council of Eight – A group of New Gods who receive their orders from Highfather.
    • Bekka – Himon's daughter, who can also heal others and manipulate and amplify their emotions.
    • Hyalt – A cybernetically enhanced blacksmith.
    • Lightray – A photokinetic warrior.
    • Metron – A supreme explorer, scientist, and inventor who rides in the time-traveling Mobius Chair.
    • Orion – The second son of Uxas/Darkseid, adoptive son of Highfather, half-brother of Kalibak and Grayven and husband of Bekka.
    • Lady Shadowfall – A archer who is a general in the New Genesis army.
    • Uggha – General of New Genesis who obeys the will of Highfather.
  • Council of Five – A group that works under Highfather.
    • Commander Gideon – A high-ranking general in the New Genesis army.
    • Lonar – An explorer of New Genesis, he shuns the orbiting celestial city of Supertown, he was the first to discover the remnants of the Old Gods.
    • Madame Nature – Security chief.
    • Teledar – A science officer.
  • Desdemona – A teacher for the children of Supertown who is Metron's former lover.
  • Divine Guard – The foot soldiers of New Genesis that work for Highfather and the allies of Orion.
  • Enkar – Guardian of the New Gods' after-realm of Hadis.
  • Fastbak – A young god from Supertown who appeared The New Gods #5. He uses Aero-Pads that enable him to fly and have super-speed.
  • Forever People – A group of young New Gods from New Genesis who came to Earth for adventure. The team traveled using their unique "Super-Cycle" and a portable "living computer" called 'Mother Box'. Together they are allies of Infinity-Man.
    • Beautiful Dreamer – A sensitive with psychic powers that allow her to create illusions and to scan people's minds to produce familiar images.
    • Big Bear – Pilot of the 'Super-Cycle', with vast strength that is further enhanced by a flow of high-density atoms.
    • Mark Moonrider – Possesses a Megaton Touch that enables him to generate lethal bolts of energy.
    • Serifan – A sensitive with limited telepathic powers, who also wields "cosmic cartridges" that serve various purposes.
    • Vykin – Has the power to trace and reconstruct atomic patterns, manipulate magna-power and it is Vykin who carries the Forever People's Mother Box.
  • Harmon – A New God of music and melody, slain by Mad Harriet of the Female Furies.
  • Himon – Apokolips resistance leader, mentor of Mister Miracle, inventor of the Mother Box, father of Bekka.
  • Infinity-Man – A powerful warrior, Drax is the older brother of Darkseid and an ally of the Forever People.
  • Jezebelle – A New God in the Pre-Crisis comics. She is a mutant and former student of Granny Goodness who defected to New Genesis.
  • Jigundus – A warrior with super-strength and enhanced durability who appeared in Superman/Aliens.
  • K'zandr – A keeper of Highfather's Oracle with precognition.
  • Magnar – An Orion-level warrior who protected Supertown as seen in Superman's Pal Jimmy Olsen #147.
  • Malhedron – A former servant of Darkseid that defected to New Genesis and a former member of the Council of Eight. A General of New Genesis who obeys the will of Highfather, Also as leader of "The Wheel".
  • Mister Miracle – Scott Free of New Genesis, Son of Highfather & Vayla. An escape artist who was traded for Orion and raised on Apokolips. Husband of Big Barda.
  • Monitors – The aerial police of Supertown.
  • Primitives – A race of indigenous peoples from the forests of New Genesis.
    • Aarden – A warrior from the Primitives.
    • Mother Herrae – The leader of the Primitives and one of the original New Gods.
    • Sserpa – A warrior from the Primitives.
  • Seagrin – The water-loving New God. Slain by the Deep Six.
  • Sister Sunlight – A New God with healing powers in the Pre-Crisis comics who originated as a "lowlie" on Apokolips before Himon emigrated her to Earth.
  • Stanga – A hermit.
  • Takion – The embodiment of the Source.
  • The Wheel – A group of warrior sisters who defected to New Genesis and led by Malhedron, who works under Highfather. They consist of Lady Dia, Lady Kor, and Lady Rad.
  • Teledar – A disembodied head in a floating orb device.
  • Thunderer – Lonar's battle horse and a survivor of Ragnarok.
  • Valkyra the Commander – Vykin's mother who rides a winged robot horse and is an expert at hand-to-hand combat.
  • Vayla – The second wife of Highfather and the mother of Scott Free.

New Gods of Apokolips

[edit]
  • Darkseid – The ruler of Apokolips and the father of Orion, Kalibak, Grayven, and Grail.[64]
  • Aerotroopers – The winged minions of Darkseid.
  • Agogg – A massive ape-like minion who targeted Ellis Ames for the Anti-Life Equation that he had. He was killed by Darkseid's Omega Beams when Ames claimed that he gave the Anti-Life Equation to him.
  • Antagonist – A minion of Darkseid who is an embodiment of hatred and rage.
  • Berelda – A female servant of Darkseid.
  • Brimstone – A being who was artificially created by Darkseid.
  • Buna – A warrior of Apokolips and daughter of Kalibre that appears in Superman (vol. 2) #104.
  • Canis Major – A minion of Darkseid in dog-themed armor.
  • Canis Minor – A minion of Darkseid in dog-themed armor and the son of Canis Major.
  • Captain Hathak – The former lover of Tigra and the possible father of Orion. He was later killed by Darkseid.
  • Commander Tusk – A commander in Darkseid's army.
  • Concord & Harmon – The minions of Darkseid.
  • Control – A communications officer.
  • Cyborg-87 – A red robot and minion of Darkseid.
  • Darkseid's Elite – The elite warriors of Darkseid.
    • Amazing Grace – A master manipulator.
    • Bane – A minion of Darkseid from New Gods #18.
    • Brola – A member of Darkseid's Elite who has a "Hand of Stone."
    • DeSaad – A torturer and Darkseid's right hand and advisor.
    • Devilance – A hunter. He was killed by Lobo.
    • Doctor Bedlam – A pure energy being and enemy of Mister Miracle who wields a series of artificial bodies.
    • Glorious Godfrey – A master manipulator who is adept at bending huge masses of people to his will. He is the older brother of Amazing Grace.
    • Granny Goodness – The supervisor of the Female Furies and keeper of Apokolips's horrid orphanages.
    • Kalibak – The son of Darkseid and Suli who serves as the second-in-command of Apokolips.
    • Kanto – A master assassin.
    • Lady Justeen – The second-in-command of DeSaad, a.k.a. Meteorra Mayhem.
    • Mantis – A bug-like warrior from the Bugs of Apokolips.
    • Mortalla – A servant of Darkseid who can induce sleep with one hand and death with another. She was once a mortal but was heavily modified to serve Darkseid.
    • Steppenwolf – Darkseid's uncle who is the general in his armies.
    • Titan – A massive, green-skinned warrior and member of Darkseid's Elite from The New Gods #18.
    • Virman Vundabar – An expert strategist and sycophant who is the father of Malice Vundabar.
  • Deep Six – The fish-like warriors who have fought the New Gods of New Genesis as well as Aquaman.
    • Gole – A member of the Deep Six who wears a helmet that covers his face and wields bladed weapons.
    • Jaffar – A green-armored member of the Deep Six who can mutate other beings with his touch.
    • Kurin – A gold-armored member of the Deep Six who often wields a trident.
    • Shaligo – A member of the Deep Six whose wing-like fins enable him to fly.
    • Slig – A blue-armored member of the Deep Six who can disintegrate an object or mutate other beings with his touch.
    • Trok – An axe-wielding member of the Deep Six who wears a copper helmet.
  • Dog Cavalry – Warriors on dog-like mounts that are commanded by Steppenwolf.
  • Ericht – A Theta drone.
  • Esak – A brilliant young man from Supertown who was Metron's protégé. He was destined to take Metron's place one day as cosmic explorer and master technologist, until he was injured in an accident which damaged him both physically and mentally. His soul and faith were embittered badly and he soon turned against Metron and his New Genesis allies by joining the ranks of Darkseid's Elite. Orion finally confronted Esak and killed him; but before he died, Orion, still respectful for Esak's past self, prayed to the Source for Esak and his face was healed before he finally died.
  • Female Furies – A group of female warriors that work for Granny Goodness.
    • Artemiz – The archer of the Female Furies.
    • Bernadeth – A knife-wielding member of the Female Furies who is Granny Goodness' right-hand woman and is the most intelligent of the group. Sister of DeSaad.
    • Big Breeda – The mother of Big Barda, grandmother of Avia II (Kingdom Come), mother-in-law of Scott Free, and sister-in-law of Avia I and Izaya.
    • Bloody Mary – A mind-controlling vampire-themed member of the Female Furies.
    • Gilotina – A member of the Female Furies whose super-strength enables her to chop through anything.
    • Lashina – A whip-wielding member of the Female Furies. She was also known as Duchess when she was in the Suicide Squad.
    • Mad Harriet – A wild member of the Female Furies with claws.
    • Malice Vundabar – The daughter of Vermin Vundabar.
      • Chessure – A creature controlled by Malice Vundabar.
    • Speed Queen – A member of the Female Furies who roller skates enable her to have super-speed.
    • Stompa – A super-strong member of the Female Furies who wears anti-matter boots.
    • Wunda – A light-manipulating member of the Female Furies.
  • Grail – The daughter of Darkseid and the Amazon Myrina.
  • Grayven – The third son of Darkseid whose mother is unknown.
  • Gravi-Guards – The hulking minions of Darkseid who are able to become super-dense. They debuted in Jack Kirby's Fourth World #12.
  • Harassers – They serve as the security guards at Granny Goodness' orphanages.
    • Marvelous Marno – An inventor and member of the Harassers.
  • Heggra – The mother of Darkseid.
  • Hunger Dogs – Also called "Lowlies," they are the downtrodden citizens of Apokolips who reside in the Armagetto district.
    • Jovita – A rebel Hunger Dog from Armagetto.
    • Kyta – A rebel Hunger Dog from Armagetto.
  • Infernus – The pyrokinetic minion of Darkseid who was sent to obtain a powerful sword that was to be delivered to Metron.
  • Iota – A minion of Darkseid.
  • Jet-Bow Squad – The soldiers of Apokolips who wield Jet-Bows.
  • Justifiers – The slaves of Glorious Godfrey that are mind-controlled by the Anti-Life Equation that also powers their weapons. In Final Crisis, they appear as the foot soldiers of Darkseid and Libra.
  • Kalibre – An assassin who is the father of Buna.
  • Killroy – The son of Steppenwolf.
  • Lakutha – A midwife who was slain by Tigra to hide Orion's true parentage.
  • Little Barda – A warrior who idolized Big Barda and fled to Earth.
  • Lucifar – A minion of Darkseid who was sent by Darkseid to live with an Alaskan family.
  • Master Mayhem – A minion of Darkseid. He was killed by Doomsday.
  • Merritz – A troll-like servant that Darkseid abandoned on Hawaii who was encountered by Ray. Killed upon Brimstone's activation.
  • Mokkari – An evil scientist who ran the Evil Factory that is Apokolips's version of Project Cadmus.
  • Necromina – A female minion of Darkseid and commander of the "Graveyard Army" who can raise and control the dead with her "Mortis Mark."
  • Nurse Maggit – An assistant to DeSaad with maggot-like hair.
  • Orion – The second son of Darkseid, who was raised on New Genesis.
  • Pacifiers – Giant red robots that enforce peace through force. They appear in Superman (vol. 2) #3.
  • Parademon – The common foot soldiers of Apokolips.
    • 3g4 – A Parademon that fought against its programming after an encounter with Aquaman. He was killed by Topkick.
    • Junior Jumbo – A Parademon.
    • Pharzoof – A Parademon with a mind of his own.
    • Topkick – A Parademon drill instructor.
  • Photon Patrol – The regular soldiers using Parademon flying harnesses from Mister Miracle #25
  • Powerboy – A friend of Little Barda who fled from Apokolips with her.
  • Precious – A failed potential recruit for the Female Furies.
  • Protector Willik – The Armagetto district's protector who wields a throw-club. Killed by a bomb that was used by Himon.
  • Pythia – The keeper of Darkseid's Oracle with precognition who also controls Apokolips's Garden of Hope.
  • Red One – An assistant to Meteorra.
  • Rip Roar – A four-armed warrior who fled to Earth after stealing a New Genesis Super-Cycle and being trapped in stone. Rip Roar later battled Young Justice upon being freed from his stone prison when his Super-Cycle was activated.
  • Servitors – The giant armored minions of Darkseid.
  • Simyan – An ape-like DNAlien and evil scientist who ran the Evil Factory which is Apokolips's version of Project Cadmus.
  • Sleez – The former boyhood friend of Uxas.[65]
  • Stingaree – An arachnid warrior from the Bugs of Apokolips.
  • Suicide Jockeys – A group of non-humans fitted with flying harnesses and suicide bombs that speak in rhyme.
  • Suli – The wife of Darkseid and mother of Kalibak.
  • Techno-Chiefs – Four of the Techno-Chiefs accompanied Darkseid in trying to get some information from Metron's Mobius Chair.
  • Tigra – The wife of Darkseid and the mother of Orion.
  • Tygar the Tearer – A saber-toothed gladiator.
  • Tyrus – A minion of Darkseid who is one of Apokolips's greatest assassins. He later defects to New Genesis.
    • Tracker– A giant-sized three-headed hound that serves Tyrus. The Tracker was cloned and grown if the one before it was killed.
  • Warhounds – Robotic dogs created by DeSaad and his team of scientists.
  • Yuga Khan – The father of Darkseid.

Powers and abilities

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The beings of New Genesis and Apokolips call themselves gods, living outside of normal time and space in an extradimensional realm known as the Fourth World. Due to their proximity to the Source, a primeval energy, these New Gods have evolved into genetically stable higher beings of evolutionary perfection.

All of the New Gods possess superhuman abilities of various kinds and differing degrees, including superhuman strength, stamina, reflexes, invulnerability and speed. The denizens of New Genesis and Apokolips are immortal and endowed with a greater intelligence than humans, despite their resemblance. Both worlds have the finest technology that the universe can offer.

Despite their immortality, the New Gods are vulnerable to a substance called Radion. Its source is unknown and its effects are toxic only in sustained amounts or after explosive exposure. The average New God can be slain by an application of Radion from a Radion blaster or bomb.

Writer Rachel Pollack introduced the idea in "Sacrifice of the Gods" in 1996 that the New Gods were giants and that the Boom Tube would shrink them as they traveled to normal time and space or enlarge beings who traveled to the Fourth World realm. For example, if Superman were to travel to Apokolips under his own power, he would be miniature in comparison to the New Gods – Orion remarked that "Earth is but a speck in an air pocket" and that the universe of New Genesis is the "real world". Proportionally, entire planets were shown to seem no larger than golf balls.[66][67]

Bibliography

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In other media

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Film

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Television

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Video games

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  • Several New God characters appear in DC Universe Online, including Mister Miracle, Big Barda, Kalibak, Mantis, Orion, Lightray, Steppenwolf, Darkseid, his New God/Amazon daughter Grail, Granny Goodness, and the Female Furies Stompa, Lashina, and Mad Harriet, along with several Bugs and Parademons. New Genesis is an open-world area, with two instances in Apokolips.
  • Multiple New Gods appear as unlockable playable characters in LEGO DC Super-Villains, including Darkseid, Kalibak, Grail, Granny Goodness, the Female Furies, and Steppenwolf. Furthermore, Apokolips appears as a hub area.

Awards

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This series, along with Forever People, Mister Miracle, and Superman's Pal Jimmy Olsen won Jack Kirby a Shazam Award for "Special Achievement by an Individual" in 1971.[100]

In 1998, Jack Kirby's New Gods by Jack Kirby, edited by Bob Kahan, won both the Harvey Award for "Best Domestic Reprint Project"[101] and the Eisner Award for "Best Archival Collection/Project".[102]

See also

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Other notable Fourth World characters and concepts:

Similar Marvel Comics characters:

  • Eternals, a race of godlike human beings also created by Jack Kirby

References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
The New Gods are a fictional race of advanced, god-like beings in the DC Comics universe, created by and introduced in New Gods #1 in 1971 as the core of his expansive saga. Emerging from the destruction of prior divine entities in a cosmic Ragnarök-like event, they represent a new evolutionary stage of godhood, blending mythological archetypes with elements on twin planets: the idyllic New Genesis, home to benevolent figures led by , and the dystopian , dominated by the tyrannical . Central to the New Gods' narrative is the perpetual ideological and martial struggle between these worlds, epitomized by a fragile pact where sons were exchanged—Orion, Darkseid's heir raised on New Genesis, and Scott Free (), Highfather's son sent to —to avert total war. Key characters include Orion, a conflicted warrior embodying internal turmoil; Metron, the neutral seeker of knowledge via his Mobius Chair; and the , youthful New Gods who harness the for defense. This cosmology explores themes of free will, tyranny, and cosmic destiny, with Darkseid's quest for the symbolizing ultimate domination over sentient life. Kirby's vision elevated the New Gods beyond mere superheroes, crafting a self-contained mythos that influenced broader DC lore, including integrations with and the , while emerged as an archetypal . The series' ambitious scope, featuring innovative concepts like Boom Tubes for interdimensional travel, showcased Kirby's unparalleled artistry and storytelling, though commercial challenges led to its initial cancellation after ten issues. Subsequent revivals and reinterpretations have sustained their relevance, underscoring the enduring appeal of Kirby's blend of epic scale and philosophical depth.

Publication History

Origins in the Fourth World Saga (1970–1973)


Jack Kirby launched the Fourth World saga, introducing the New Gods, in Superman's Pal Jimmy Olsen #133, cover-dated October 1970. This issue marked Kirby's return to DC Comics after leaving Marvel, where he began integrating cosmic elements like advanced technology and interdimensional beings into the established Superman mythos to set the stage for his new mythology. Metron, a key New God representing knowledge and mobility via his Mobius Chair, debuted in the following issue, Jimmy Olsen #134 (December 1970), traveling between dimensions and hinting at the larger conflict.
The core New Gods series proper debuted with New Gods #1, cover-dated February–March 1971 and on sale December 22, 1970. Written, penciled, and edited by Kirby with inks by , the issue opens with the cataclysmic death of the "Old Gods" in a Ragnarok-like event orchestrated by an absolute evil, from whose ashes the New Gods arose as successors. This establishes the bifurcated cosmology: the utopian New Genesis, ruled by (Izaya the Ineffable), and the dystopian , tyrannized by , whose eternal war embodies good versus evil on a cosmic scale. Orion, Darkseid's son raised on New Genesis to maintain peace, emerges as the protagonist, grappling with his heritage. Companion titles expanded the saga: The Forever People #1 (February–March 1971) introduced hippie-like New Gods wielding the for transformation into the , while Mister Miracle #1 (April–May 1971) featured Scott Free, 's son escaped from , as an escape artist embodying resilience against tyranny. These series, published concurrently through 1973, interconnected via Kirby's overarching narrative of the "Pact"—an exchange of heirs between and to avert —detailed in New Gods #7 (February–March 1972). Despite innovative storytelling and Kirby's dynamic artwork, low sales led to cancellation by mid-1973, leaving the saga unresolved at 11 issues for New Gods and The Forever People, though Mister Miracle continued briefly.

Revivals and Expansions (1977–1980s)

In 1977, DC Comics relaunched the New Gods series as Return of the New Gods, picking up with issue #12 (cover-dated July 1977) and continuing through #19 (June 1978), for a total of eight issues. Written by , the run featured artwork by Don Newton on most issues, with Rich Buckler contributing to others, and maintained continuity from Kirby's original series by focusing on Orion's defense of against Apokoliptian incursions led by , including threats like the robotic assassin and energy beings from . The revival stemmed from a reintroduction in #13 (1976), also by Conway, which set up Darkseid's return and Orion's role as protector. The companion Mister Miracle series was similarly revived that year with issues #25 (June–July 1977) and #26 (September–October 1977), written by and drawn by Steve Mitchell, exploring Scott Free's escapes and ties to New Genesis amid corporate intrigue on Earth. These efforts expanded the characters into ongoing adventures without Kirby's involvement, emphasizing interpersonal dynamics among the New Gods and their earthly allies, though sales led to cancellation after limited runs. Further expansion occurred in 1982 with Paul Levitz's "Great Darkness Saga" across Legion of Super-Heroes #290–294 (August–December 1982) and Annual #1 (1982), which integrated New Gods lore into the 30th-century setting by revealing Darkseid's ancient theft of a New Genesis infant—later raised as —as the origin of the planets' uneasy pact, involving Servants of Darkness as energy-vampiric minions and a climactic battle drawing in multiple Legionnaires against Apokoliptian forces. This storyline, illustrated by and others, amplified Darkseid's cosmic threat and retroactively deepened the mythological conflict between New Genesis and . Jack Kirby reasserted control over his creation in 1984 via a six-issue reprinting his original New Gods stories (issues #1–7 from 1971), published on high-quality Baxter paper with new framing sequences; editor noted Kirby's intent to disregard the 1977 revival as non-continuity to realign with his vision. This led directly into Kirby's The Hunger Dogs (DC Graphic Novel #4, September 1985), a 48-page self-contained story he wrote and illustrated, depicting mass rebellion among Apokolips's "Lowlies" (oppressed underclass), Orion's invasion to challenge , Highfather's death, and a near-ragnarok event with planet-destroying tech, effectively concluding the core arc with themes of tyranny's collapse and uncertain renewal.

Post-Crisis Reinterpretations (1980s–1990s)

In 1985, Jack Kirby concluded his Fourth World narrative with The Hunger Dogs, a 64-page DC Graphic Novel that depicted a massive uprising on Apokolips led by the impoverished "Hunger Dogs" against Darkseid's tyranny. The story portrayed Darkseid quelling the revolt through brutal force, including the deployment of his Astro-Force to devastate swaths of the planet, while the New Gods of New Genesis, including Orion, Lightray, Highfather, and Metron, evacuated their world aboard a satellite city in search of a new home amid escalating threats. This work emphasized the cyclical nature of conflict between the twin planets, with Darkseid's rule solidified but Apokolips left in ruins, serving as Kirby's final direct contribution to the New Gods mythos before his death in 1994. Following the conclusion of in 1986, the New Gods' core cosmology and history remained largely intact within the unified , avoiding the sweeping retcons applied to many Earth-based heroes. Characters like and Orion integrated into broader continuity through crossovers, such as a 1987 three-part storyline spanning #3, Adventures of Superman #426, and #586, where transported to via the Omega Effect, revealing the planet's asteroid-encircled orbit—implying prior cataclysmic damage—and pitting the Man of Steel against Apokoliptian forces in a bid to harness his power. These appearances reinterpreted the New Gods as extradimensional threats capable of intersecting with terrestrial heroes, emphasizing 's manipulative schemes over Kirby's original isolated epic scope, without altering foundational events like the Orion-Highfather pact. The late 1980s saw a dedicated revival with the New Gods series (1989–1991), written by Mark Evanier with art by Paris Cullins, comprising 28 issues that built on Kirby's legacy and prior miniseries like Cosmic Odyssey (1988). This run reinterpreted the ongoing war between New Genesis and Apokolips through interpersonal dramas and escalating invasions, featuring Orion's internal struggles with his heritage, Highfather's diplomatic efforts, and Darkseid's schemes involving Earth incursions, while introducing elements like the Anti-Life Equation's terrestrial echoes. A companion Mister Miracle limited series (1989), also by Evanier, further explored Scott Free's escape artistry and family ties, grounding the cosmic scale in character-driven narratives suited to post-Crisis ensemble dynamics. These efforts aimed to sustain the New Gods as viable ongoing properties, prioritizing accessibility for new readers over rigid adherence to Kirby's unpublished notes, though sales declined by 1991, leading to cancellation. Into the 1990s, sporadic reinterpretations appeared in titles like Justice League International, where Metron provided cryptic counsel, and Superman arcs reinforcing Darkseid's role as a recurring antagonist with godlike weaponry like the Omega Sanction. By mid-decade, a 1995 New Gods relaunch (15 issues) shifted toward grittier tones under writers like John Byrne from issue #12, incorporating post-Crisis elements such as ties to the Justice League and re-examining the Source Wall's barriers, though it maintained the binary good-evil dichotomy without fundamental overhauls. These publications collectively repositioned the New Gods from standalone mythos to supportive elements in DC's shared universe, leveraging their scale for high-stakes threats while preserving Kirby's themes of destiny, tyranny, and redemption.

Lead-up to Infinite Crisis and Beyond (2000s)

The Orion comic series, written and penciled by , comprised 25 issues published from June 2000 to June 2002, serving as a primary exploration of New Gods lore in the early . The narrative centers on Orion's reluctant return to New Genesis amid prophecies foretold by Metron, culminating in intense confrontations on ' Armagetto battleground and revelations about the fragile truce between and . This series revitalized the mythology by emphasizing Orion's internal struggle with his Darkseid heritage, Astro-Force mastery, and the cyclical nature of god-warfare, while integrating elements like the and bug armies into ongoing conflicts. New Gods characters featured in peripheral roles during the buildup to (December 2005–May 2006), with Darkseid's influence echoing through cosmic threats like the Spectre's rampage and multiversal incursions, though not as direct protagonists. Orion and Lightray appeared in Justice League-related titles, reinforcing the Fourth World's detachment from Earthly crises yet underscoring its potential for broader intervention via Boom Tubes and technology. These appearances highlighted systemic vulnerabilities in the Source Wall-adjacent realms, aligning with the event's themes of fractured realities without altering core New Gods continuity at the time. Post-, Grant Morrison's Seven Soldiers: Mister Miracle miniseries (November 2005–September 2006) introduced subversive elements to New Gods canon, depicting Shilo Norman as the third inheriting Scott Free's mantle after the latter's off-panel death. The story culminates in a pact challenge from Metron, probing themes of mortality among immortals and hinting at Darkseid's escalating Anti-Life agenda through escaped Lowlies and Great Darkness manipulations. This arc, part of Morrison's metaplot, bridged to larger 2000s developments by questioning the gods' escapist isolation on New Genesis and , setting precedents for existential threats beyond binary warfare.

Death of the New Gods and Final Crisis (2007–2008)

In the lead-up to DC Comics' event, the 2007–2008 miniseries Death of the New Gods, written and illustrated by , depicted the systematic extermination of the entire New Gods pantheon as a fulfillment of cosmic . The eight-issue storyline, spanning from its debut in December 2007 to its conclusion in April 2008, portrayed New Gods from both New Genesis and being assassinated one by one by an enigmatic force, prompting investigations by survivors including Orion, , and . Starlin framed the killings as a necessary ordained by the Source to dismantle the , with the entity Infinitus—manifesting as a destructive hand—executing the judgments to avert a greater multiversal threat posed by the unchecked proliferation of godlike beings. , recognizing the inevitability, ultimately perishes alongside his foes, including , in a climactic convergence that eradicates all New Gods, leaving their realms desolate. The narrative emphasized themes of inevitable decay and renewal, drawing on Kirby's original cosmology while incorporating brutal confrontations, such as Orion's fatal battle with Kalibak, to underscore the finality of the gods' demise. This miniseries served as a prelude to Grant Morrison's (2008–2009), where the New Gods' annihilation is recontextualized as a "war in heaven" that scatters their essences across the , enabling Darkseid's forces to possess human hosts on . In #1 (May 2008), the event's aftermath manifests through anomalies like the death of Orion on —revealed as a reincarnated New God—and Darkseid's fragmented consciousness infecting mortals, including detective , to orchestrate an invasion via the . Morrison integrated Starlin's premise by portraying the gods' deaths not merely as isolated executions but as a cataclysmic upheaval disrupting the cosmic balance, with surviving New God technology like Mother Boxes aiding heroes against Darkseid's earthly tyranny. However, inconsistencies arose, as Morrison later described elements of Death of the New Gods—such as specific death sequences—as approximations rather than strict canon, prioritizing 's metafictional exploration of godhood, , and multiversal oversight by the Monitors over Starlin's more linear prophecy-driven account. The storyline's resolution in #7 (March 2009) saw and the heroes avert total subjugation, but the New Gods' extinction underscored a thematic shift toward supplanting divine intermediaries in DC's cosmology.

Post-Final Crisis Continuity Shifts

Following the events of in 2008, DC Comics' continuity for the New Gods shifted dramatically, with the Fourth World pantheons of New Genesis and effectively eradicated from prime Earth-0 reality. The preceding Death of the New Gods miniseries (issues #1–8, December 2007–April 2008) depicted Orion's fatal confrontation with , triggering a that annihilated both god-worlds and their inhabitants, leaving no survivors in main continuity. This culminated in #6–7 (2008–2009), where 's descent to Earth symbolized the eclipse of the old gods, their essences dispersed and unavailable for resurrection in the core . In a partial resolution, #7 revealed the rebirth of a of as infants on the reconstructed Earth-51, a parallel world rehabilitated by Monitor Nix Uotan into a verdant paradise akin to New Genesis, signaling the dawn of a "Fifth World" detached from Earth-0 events. This off-mainstream relocation preserved elements of Kirby's mythology without reintegrating them into ongoing narratives, allowing DC to conclude the saga while sidelining the characters. In Earth-0, subsequent appearances—such as Orion and Metron manifesting as Black Lantern reanimations during (2009–2010)—served as temporary echoes driven by external necromantic forces like Nekron's rings, rather than authentic revivals, reinforcing the gods' narrative obsolescence. This transitional phase, spanning 2008–2011, featured no dedicated New Gods titles or major arcs, with fragments or avatars occasionally invoked in crossover events like Brightest Day (2010–2011) to tie into larger cosmic threats, but always as diminished proxies of the originals. The absence underscored a deliberate continuity pivot: the Kirby-era gods' archetypal was resolved cataclysmically, prioritizing multiversal reconfiguration over restoration, which set the stage for later reboots while avoiding contradiction with pre-Crisis lore. Such portrayals emphasized conceptual evolution over literal continuity, with DC creators like framing the shifts as metaphysical upgrades rather than mere plot devices.

The New 52 and Reboots (2011–2016)

continuity relaunch in September 2011, precipitated by the Flashpoint event, reincorporated the New Gods into DC's primary Earth-0 timeline with streamlined origins and heightened ties to core heroes like the and , diverging from Jack Kirby's original isolated framework. initiated this era's narrative through an invasion of Earth depicted in Justice League vol. 2 #1–6 (September 2011–May 2012), deploying Parademons for reconnaissance, alongside lieutenants and Steppenwolf, who clashed directly with Batman, , and in an effort to probe human potential via experimental devices. This incursion established as an immediate cosmic threat, emphasizing his quest for the without initial references to New Genesis counterparts. Orion, son of Darkseid and adoptee of , alongside himself, received their debuts in Wonder Woman vol. 4 #12–14 (September–November 2012), woven into Brian Azzarello's arc on Zeus's machinations and divine resurrections. Here, dispatched Orion to as a warrior enforcer, highlighting Orion's Astro-Force harness and rage-suppressing , while portraying as a strategic paternal figure negotiating fragile peaces. Subsequent issues of Wonder Woman vol. 4 (#15–34, 2012–2014) expanded Orion's role in battles against Apollo and other Olympians, underscoring tensions between New Genesis's utopian ideals and Apokolips's tyranny. Parallelly, Earth 2 #1–28 (June 2012–October 2014) featured and defending against an Apokoliptian incursion led by Steppenwolf, portraying them as escaped gladiators aiding Earth's heroes amid multiversal threats. A dedicated miniseries, and the Forever People #1–9 (March–November 2014), reimagined the as adolescent runaways from New Genesis schools, delving into Highfather's backstory as Izaya the Inheritor and his transformation via the entity, which merged alien technology with emergent godhood. This Dan DiDio-helmed title emphasized youth rebellion against Highfather's authoritarian oversight, introducing educational castes on New Genesis and conflicts with Apokoliptian agents. The 2014 "" crossover, spanning /New Gods: Godhead #1 and Annual #3 (October 2014–March 2015), pitted Highfather's forces against the emotional spectrum wielders as he pursued the Life Equation, resulting in New Gods acquiring Lantern ring analogs and escalating interdimensional warfare. The era culminated in the "Darkseid War" storyline across Justice League vol. 2 #40–50 (June 2015–April 2016), orchestrated by , where Darkseid's confrontation with the empowered Justice League members as temporary gods, while introducing Darkseid's daughter as a vengeful allying with Apokolips's remnants. Metron provided exposition on multiversal singularities, and supporting New Gods like Orion, , and intervened in the chaos, with Darkseid's apparent death fracturing Apokoliptian command structures. Cosmologically, New Genesis and were relocated to the Sphere of the Gods, realms beyond the 52 universes, with New Gods conceptualized as archetypal emanations influencing multiple realities, as clarified in supplementary materials like The Multiversity Guidebook #1 (2015). These portrayals prioritized epic-scale conflicts over Kirby's philosophical depth, often critiqued for subordinating lore to Justice League narratives.

DC Rebirth and Interim Stories (2016–2023)

In the era, initiated in June 2016 to blend pre-Flashpoint and continuities, the New Gods saw no ongoing dedicated series but appeared in select limited stories emphasizing psychological and existential themes amid their cosmic conflicts. The initiative restored elements of the mythology, positioning New Genesis and as eternal adversaries outside standard multiversal timelines, with surviving gods like Orion and Metron retaining their pre-Crisis roles despite prior narrative deaths in . A key publication was New Gods Special #1, released January 10, 2018, written by multiple creators including Francis Manapul and illustrated by various artists, which focused on Orion's internal struggles as Darkseid's son and heir apparent to . The one-shot depicted Orion's rage-fueled battles and , drawing directly from Jack Kirby's original characterizations while integrating Rebirth's emphasis on legacy heroes confronting personal demons. The most prominent Rebirth-era New Gods narrative was Tom King and Mitch Gerads' (2017–2019), a 12-issue series launching August 9, 2017, that centered on Scott Free's escape artistry, marriage to , and the psychological toll of impending war between New Genesis and . The story portrayed Scott's repeated suicide attempts, fatherhood anxieties, and confrontations with Orion and Metron, culminating in a hallucinatory clash with over the , ultimately affirming Scott's role as a bridge between worlds rather than a conqueror. Critically acclaimed for its intimate exploration of trauma and domesticity against cosmic stakes, the series concluded in July 2019 without resolving the gods' broader schism, leaving New Genesis under Highfather's (Izaya) tenuous leadership. Interim stories from 2019 to 2023 featured sporadic New Gods appearances in crossover events and titles, often as antagonists or allies in multiversal threats. For instance, and schemed in (2018–2022) arcs by and , leveraging Apokoliptian technology against the League, while Orion aided in Justice League Odyssey (2018–2020), navigating splintered space sectors post- event. These narratives maintained the gods' technological supremacy via Mother Boxes and Boom Tubes but subordinated their internal politics to Earth-centric plots, with no major revivals until post-2023 shifts. Metron's Mobius Chair appearances in Justice League Incarnate (2021–2022) highlighted his neutral omniscience amid Hypertime crises, underscoring the New Gods' detachment from mortal affairs.

Recent Revival Series (2024–present)

In December 2024, DC Comics initiated a new ongoing New Gods series as part of its All-In publishing initiative, written by Ram V and illustrated by Evan Cagle. The first issue, released on December 18, 2024, establishes the premise in the wake of Darkseid's death during the DC All In Special, an event that tears the multiverse's fabric and unleashes widespread reverberations across the cosmos. Metron conveys a prophecy of impending catastrophe to the leaders of New Genesis and , while on Earth, Scott Free () and grapple with parenthood as anomalous powers manifest in their child, signaling the emergence of new divine entities. Subsequent issues expand on existential threats, including an intergalactic that invades the twin planets, issuing ultimatums of conversion or , which forces inhabitants to confront their ideological divides and survival imperatives. Central conflicts involve Orion's moral dilemma, rooted in his heritage as the son of and ward of , exploring nature-versus-nurture dynamics amid orders to eliminate a nascent New God. The narrative emphasizes emotional intimacy, fractured leadership on New Genesis, and the power vacuum on , reshaping cosmology without altering core character essences from Jack Kirby's originals. By October 2025, the series had published ten issues on a monthly schedule, with The New Gods #10 dated September 17, 2025. Critics and official commentary have lauded Ram V's scripting for infusing contemporary psychological depth into 's mythic framework and Cagle's artwork for its evocative, referential style that evokes haunting duality between paradise and hellscape. The revival positions the as pivotal to DC's evolving multiversal threats, distinct from prior iterations by foregrounding interpersonal legacies over large-scale conquests.

Setting and Cosmology

The Source, the Wall, and Ragnarok Origins

In Jack Kirby's cosmology, Ragnarok refers to the apocalyptic destruction of the Old Gods, an ancient pantheon inhabiting a singular divine realm known as Godworld. This cataclysmic event, depicted as a through internecine warfare among the gods of classical mythologies, eradicated the Old Gods and unleashed a cosmic explosion called the Godwave, which propagated divine potential . The remnants of Godworld bifurcated into two opposing planets—New Genesis, embodying benevolence and enlightenment, and , characterized by tyranny and oppression—giving rise to the New Gods as a second-generation divine race evolved from the ashes of their predecessors. The Source represents the primordial, metaphysical force underpinning all existence in this framework, conceptualized by Kirby as an infinite energy or godhead originating creation itself. First manifested in New Gods #1 (February–March 1971), the Source communicates cryptic directives to New Gods like via fiery inscriptions or visions, serving as both the architect of the Godwave that birthed godlike beings and the enigmatic binder of known reality. It transcends conventional divinity, embodying undiluted causal origin without anthropomorphic form, and its influence permeates the conflict between utopian and dystopian poles. The Source Wall delineates the boundary of the , an impassable cosmic edifice first appearing in New Gods #5 (November 1971), where colossal Promethean giants eternally strain against its surface in futile toil. This structure encapsulates the multiverse's confines, with the ineffable Source residing beyond, accessible only through rare breaches that demand immense sacrifice and often result in petrification of intruders. In Kirby's schema, the Wall symbolizes the limits of comprehension and power, linking Ragnarok's transformative chaos to the Source's perpetual mystery by containing echoes of divine overreach while safeguarding the foundational energies that spawned successive godly epochs.

New Genesis: Society and Governance

New Genesis is governed by , originally Izaya, who serves as both the spiritual and political leader of its inhabitants, the New Gods known as Genesisians. communes directly with the Source, a mystical energy barrier providing divine guidance, which informs his wise and benevolent rule promoting tolerance, justice, and harmony. This centralized leadership structure emphasizes peace, achieved historically through a pact with involving the exchange of sons Orion and Scott Free to avert mutual destruction. Society on New Genesis embodies a utopian ideal, characterized by a lush, unspoiled paradise of forests, mountains, and rivers, where advanced technology coexists with reverence for nature. Inhabitants primarily reside in Supertown, a technologically sophisticated suspended above the planetary surface to minimize environmental impact and preserve the pristine wilderness below. The society values the pursuit of knowledge and enlightenment, with Mother Boxes—sentient devices—facilitating connections to the Source and daily life enhancements. Social organization includes diverse groups such as the elite Genesisians, who undergo the Rite of Ascension to attain full godhood, and lower strata like the insectoid Bugs, integrated as equals despite class distinctions evident in figures like the humble Forager. Primitives dwell independently on the surface, free from Highfather's direct oversight, reflecting a degree of decentralized autonomy outside urban centers. Highfather has also engineered groups like the , assembled from select human youths across history to embody youthful vitality and counter Apokoliptian threats. While fundamentally hierarchical under Highfather's firm guidance, the governance fosters a merit-based from mortal-like states to divine status, contrasting sharply with ' rigid oppression, though not without internal tensions such as class divides or wartime ruthlessness in later continuities.

Apokolips: Totalitarian Structure and Control Mechanisms

operates as a dystopian , a entirely covered in urban industrial sprawl dedicated to production, warrior training, and the gratification of its ruling elites, reflecting Jack Kirby's conception of a fascist-inspired totalitarian . exercises god-like despotism as the unchallenged sovereign, delegating administrative enforcement to loyal subordinates while embodying the that individual freedom constitutes a contagious affliction punishable by death. The societal hierarchy enforces rigid stratification: at the apex sits and his inner elite, such as , who serves as chief torturer and inventor of pain-inflicting devices to extract compliance and break wills among inhabitants and captives alike. Below them rank specialized enforcers like the , elite female warriors trained for assassination and combat, and the mass-produced Parademons, genetically engineered shock troops that patrol and suppress dissent through brute force. At the base dwell the Lowlies, a subjugated of laborers consigned to menial toil in fire pits and factories, their existence marked by perpetual servitude without hope of ascent. Control mechanisms integrate psychological, technological, and punitive elements to eradicate autonomy. oversees the Orphanages, institutions that indoctrinate children from infancy in unwavering loyalty to via brutal regimens combining combat training and ideological conditioning, producing generations of fanatical soldiers including the . Desaad's apparatus, including emotion-siphoning devices and vibro-shockers, amplifies this through systematic torture, allowing him to vicariously experience victims' agony while ensuring obedience via fear of prolonged suffering. Parademons maintain order through aerial surveillance and violent reprisals, while the planet's fire pits—vast energy-harvesting infernos—double as execution sites, incinerating rebels and fueling ' war machine in a cycle of exploitation. This structure sustains 's quest for the , a metaphysical formula theorized to impose universal subservience, mirroring the regime's internal dynamics of coerced unity.

Boom Tubes, Mother Boxes, and Astro-Engineering

Boom tubes represent a cornerstone of New God interstellar and interdimensional travel, functioning as raw apertures that tear open for near-instantaneous transit. Originating from Apokoliptian development under Darkseid's command, these devices generate a portal with a distinctive explosive , enabling passage from or New Genesis to distant worlds like without conventional propulsion. Jack Kirby introduced boom tubes in The Forever People #1 (March 1971), portraying them as scalable for individuals or armies, though overuse risks destabilizing local physics or alerting cosmic entities. Mother boxes serve as multifunctional, symbiotic bio-computers essential to New God physiology and operations, often described as living extensions of the user bonded through willpower. Crafted by New Genesian inventor Himon from the rare Element X, these compact devices—roughly brick-sized—draw infinite energy from the Source, facilitating feats like cellular regeneration, environmental adaptation, holographic projection, and linguistic translation. They also activate boom tubes on demand and can interface with other technologies, such as defensive force fields or psychic amplifiers, while exhibiting quasi-sentience that aligns with benevolent or malevolent intents of their wielders. In Apokoliptian hands, mother boxes enforce control, syncing with obedience collars to suppress . Astro-engineering in the New Gods cosmology denotes the god-scale manipulation of celestial bodies and cosmic infrastructure, exemplified by the post-Ragnarök reconstruction of New Genesis and from the shattered remnants of the gods' ancestral world. Survivors like Izaya and employed proto-mother box equivalents and raw Source energies to terraform twin planets: New Genesis as a self-sustaining aerial atop verdant expanses, stabilized by positive "life equation" harmonics; as a molten forge-world with industrial fire pits channeling geothermal fury for weaponry production. This discipline integrates New God physiology—enhanced strength and longevity—with mechanical augmentations, allowing feats like orbital restructuring or dimensional anchoring, though Kirby's narratives prioritize allegorical conflict over granular schematics. Such technologies underscore the Fourth World's fusion of mythic divinity and speculative futurism, with boom tubes and mother boxes as practical enablers.

Key Characters

New Genesis Protagonists

Highfather, also known as Izaya, serves as the benevolent ruler of New Genesis, embodying principles of peace, wisdom, and moral leadership in opposition to Apokolips' tyranny. Originally a warrior who ascended to godhood after experiencing a vision from the Source, Highfather brokered an armistice with Darkseid by exchanging their sons—sending his biological son Scott Free to Apokolips while adopting Orion—in a pact sealed by the destruction of their respective planets' war engines on December 17, 1970, in the narrative timeline. This exchange, detailed in Jack Kirby's New Gods #1 (February 1971), underscores Highfather's commitment to averting Ragnarök-like cataclysm through diplomacy rather than conquest. Orion, Highfather's adopted son and Darkseid's biological heir, functions as New Genesis's primary warrior and protector, harnessing immense strength, energy projection, and Astro-Force manipulation while suppressing his inherited rage through a Mother Box-induced pacifier. Debuting alongside in New Gods #1, Orion's internal conflict—balancing his Apokoliptian heritage with New Genesis's ideals—drives much of the saga, as he repeatedly thwarts Darkseid's invasions, such as the 1971 assault on that tested the fragile truce. His role emphasizes themes of nurture over nature, with Highfather's guidance enabling Orion to champion against deterministic tyranny. Metron, the disembodied intellect of New Genesis, operates as a neutral observer and knowledge-seeker, piloting the Mobius Chair to traverse time and dimensions in pursuit of universal truths, unbound by the moral binaries of his peers. Introduced in New Gods #1, Metron's aloof detachment—facilitated by his chair's dimensional mobility—allows him to mediate conflicts, as seen when he proposed the initial amid the New Gods' war, though his prioritization of cosmic data over intervention has drawn criticism for enabling Apokoliptian schemes. Unlike Highfather's active benevolence, Metron's contributions stem from technological and philosophical augmentation, reflecting Kirby's vision of divinity as advanced science. The , a collective of youthful New Gods including Vykin the Black, Serifan, Mark Moonrider, and , represent New Genesis's exploratory and harmonious ethos, merging into the entity via the Super-Cycle for enhanced power during threats. Forming a pact in Forever People #1 (February 1971), they embody Kirby's anti-authoritarian , venturing to planets like to combat evil—such as liberating a Manhattan from Darkseid's influence in their debut—while wielding the for reality-warping feats grounded in communal synergy rather than individual dominance. Supporting figures like Lightray (Waldur), a super-speed scout capable of light-speed travel and photon blasts, and Himon, an inventive pacifist who pioneered non-lethal defenses including the pacifier devices, bolster New Genesis's defensive and innovative capacities. Lightray, debuting in New Gods #1, aids Orion in frontline skirmishes, such as the 1972 defense against Kalibak's forces, prioritizing swift reconnaissance over brute force. Himon's role, highlighted in Kirby's Mister Miracle series (1971), underscores empirical engineering as a counter to Apokoliptian coercion, developing gadgets that amplify free will without enslaving users. Collectively, these protagonists illustrate New Genesis's paradigm of enlightened governance and voluntary heroism, forged in the post-Ragnarök era to safeguard multiplicity against monolithic control.

Apokoliptian Antagonists

serves as the tyrannical ruler of and the central antagonist in the New Gods saga, embodying absolute despotism through his pursuit of the , a metaphysical formula intended to eradicate free will across the universe. Introduced by in New Gods #1 (February 1971), commands vast armies of Parademons and enforces total subjugation on his fire pits-scarred world, directing invasions against New Genesis and to expand his dominion. His family dynamics, including fathering Orion (raised on New Genesis as part of a hostage exchange with ), underscore the fragile that masks ongoing hostilities. Desaad, Darkseid's chief scientist and torturer, functions as the regime's sadistic enforcer, devising technological horrors and psychological manipulations to maintain control over Apokoliptian subjects. Debuting in The Forever People #3 ( 1971), Desaad exemplifies the scientific perversion underpinning Apokoliptian tyranny, often experimenting on captives to extract information or loyalty, as seen in his orchestration of espionage against New Genesis protagonists. Kalibak, Darkseid's brutish son and a god of unrestrained violence, leads frontline assaults with augmented by Apokoliptian weaponry, frequently clashing with Orion in brutal combats that highlight the hereditary nature of Apokoliptian aggression. Also introduced in New Gods #1 (February 1971), Kalibak's role emphasizes raw physical dominance over subtlety, serving as a blunt instrument in Darkseid's campaigns while embodying the failures of Apokoliptian breeding programs aimed at creating perfect warriors. Granny Goodness, the overseer of ' orphanage and commander of the , indoctrinates youth into fanatical servitude through rigorous, cruelty-laced training regimens disguised as nurturing. Emerging in #1 (April 1971), she transforms recruits into elite assassins loyal to , with her methods—combining psychological conditioning and combat drills—directly countering New Genesis' emphasis on individual potential, as evidenced by her grooming of characters like before defections. These antagonists collectively form Darkseid's inner cadre, leveraging Mother Boxes for via Boom Tubes and advanced armaments to project ' ideology of conquest, with their actions precipitating the eternal war against Highfather's forces on New Genesis. Secondary figures like Steppenwolf, Darkseid's uncle and military general, further bolster this hierarchy by commanding Parademon legions in planetary incursions.

Peripheral and Evolving Figures

Metron functions as the detached scholar and explorer of the New Gods, employing the Mobius Chair—a device enabling interdimensional and temporal travel—to amass universal knowledge without direct involvement in the New Genesis-Apokolips war. His neutrality positions him outside the primary factions, focusing on empirical discovery rather than moral alignment, though he occasionally aids New Genesis indirectly. Himon operates as a clandestine inventor and resistance figure on , disguising himself among the oppressed "Lowlies" while pioneering technologies like the , which facilitates interstellar communication and matter manipulation. As a New Genesis native exiled for subversive activities, he mentors escapees such as Scott Free (), emphasizing ingenuity against tyranny through hidden workshops and rebel networks. Lightray, born Solis on New Genesis, manifests powers of superluminal speed and light projection, serving as a frontline defender and close ally to Orion in battles against Apokoliptian incursions. His optimistic demeanor contrasts the grim determinism of the conflict, positioning him as a supportive rather than leading combatant. Among evolving figures, Metron's role has shifted from pure observer to reluctant participant in cosmic crises, such as relinquishing the Mobius Chair during events threatening multiversal stability, revealing limits to his professed detachment. Himon’s influence expands post-Kirby eras, evolving from isolated tinkerer to architect of anti-Darkseid countermeasures, including alliances with off-world heroes amid ' internal upheavals. Lightray's incorporates mortality themes in recent narratives, grappling with death and resurrection cycles that underscore New Gods' pseudo-divine vulnerabilities.

Powers, Abilities, and Technological Augmentation

Shared New God Physiology and Enhancements

The New Gods, originating from the planets New Genesis and , share a baseline physiology evolved from the remnants of the Old Gods following the cataclysmic Ragnarok event millions of years ago, granting them attributes far exceeding human limits. This physiology renders them functionally immortal, with physical aging halting near the age of 30, allowing indefinite lifespan unless killed by extraordinary means such as the Radion element or omega beams. Their cellular structure supports rapid regeneration from severe injuries, though not instantaneously without technological aid. Superhuman strength is a universal trait, enabling New Gods to exert force equivalent to lifting multi-ton objects or shattering reinforced structures, as demonstrated by characters like Orion in direct confrontations. Invulnerability provides resistance to extreme temperatures, projectiles, and energy blasts that would pulverize human tissue, with their dense molecular composition distributing impact forces across enhanced skeletal and muscular frameworks. Superhuman durability extends this protection, allowing in , high-gravity environments, or planetary re-entry without specialized equipment. Additional shared enhancements include speed and reflexes, permitting movement and reaction times orders of magnitude faster than human athletes, often blurring into afterimages during combat. Heightened stamina prevents during extended battles or exertions, while amplified senses—such as acute hearing, vision extending into spectra, and olfactory detection—facilitate tactical superiority. These traits apply across both Genesisians and Apokoliptians, though the latter's is conditioned for aggression through rigorous servitude and genetic selection, amplifying baseline aggression without altering core capabilities. Physiological enhancements are inherently tied to their "godly essence," a bio-energetic field that interfaces with advanced technology like Mother Boxes for amplification, though the boxes themselves are external artifacts. This enables limited energy projection or manipulation in attuned individuals, but remains a shared latent potential rather than an active power for all. Despite these advantages, New Gods remain vulnerable to specific counters like psychic assaults or anti-divine weaponry, underscoring that their enhancements represent evolutionary adaptation rather than absolute omnipotence.

Unique Artifacts: Mother Box and Anti-Life Equation

The is a sentient, bio-organic device integral to the technology of New Genesis in Jack Kirby's mythology, first depicted in New Gods #1 published by DC Comics in February 1971. These artifacts, crafted from the elemental forces of the New Gods' homeworld, serve as symbiotic companions that interface directly with their users' physiology and the cosmic Source energy, enabling functions such as rapid healing of injuries, energy projection for defensive barriers, and instantaneous communication across vast interstellar distances. also generate Boom Tubes—hyperspace portals for teleportation between dimensions—and possess prescient awareness, detecting threats or life forces with near-omniscience relative to their operational sphere. In contrast to Apokoliptian equivalents like Father Boxes, which are engineered for domination and often exhibit malevolent autonomy, Mother Boxes embody a nurturing, protective essence aligned with New Genesis's ethos of freedom, refusing commands that violate ethical imperatives such as needless destruction. Their power derives from the Source, the primordial life force beyond the , allowing feats like molecular reconfiguration or interfacing with the Godwave that empowers New Gods, though overuse can strain the device or its host, leading to temporary exhaustion. Kirby portrayed Mother Boxes as indispensable to protagonists like Orion and the , who invoke them with phrases like "How can I refuse you, Mother Box?" to underscore their quasi-maternal, guiding role in the narrative. The represents a metaphysical and mathematical construct in Kirby's saga, conceptualized as a proving the nullity of and the inherent meaninglessness of , thereby granting its possessor absolute over sentient minds. First referenced in #5 (November 1971), it serves as Darkseid's ultimate objective, fragmented across Earth and hidden in human psyches to evade his grasp, with components including isolation, loneliness, fear, and self-doubt structured as "loneliness + alienation + fear + despair + self-worth ÷ mockery ÷ condemnation ÷ misunderstanding × guilt × shame × failure × judgment n=y where y=hope and n=folly, love=lies, life=death, self=dark side." Unlike the Life Equation, which affirms vitality and through connection to the Source, the Anti-Life Equation inverts this by enforcing psychic enslavement, as evidenced in Kirby's plots where partial activations induce mass zombification or reality-warping obedience. Kirby's original intent framed not merely as a but as a philosophical to life's affirmative force, with Darkseid's quest symbolizing tyranny's erosion of individual agency; successful assembly, as nearly achieved in New Gods arcs, would propagate anti-vital impulses universe-wide, nullifying resistance from figures like . In the cosmology, it remains uniquely perilous due to its incompatibility with New God physiology—exposure risks self-annihilation for benevolent wielders—reinforcing themes of moral choice over coercive power. Subsequent DC storylines have varied its mechanics, but Kirby's foundational depiction ties it inextricably to Apokolips's expansionist ideology, where and others experiment with synthetic versions yielding limited mind-control devices like the Agony Matrix.

Apokoliptian Weapons and Servitude Devices

Apokoliptian weapons and servitude devices integrate destructive energy manipulation with psychological coercion, reflecting the regime's emphasis on absolute control over subjects and enemies. Developed by engineers like and deployed across ' fire pits and armories, these technologies prioritize efficiency in suppression, often fusing bio-organic interfaces with plasma-based armaments to maximize terror and compliance. Darkseid's Omega Beams represent the pinnacle of Apokoliptian weaponry, emanating from his eyes as manifestations of the Omega Effect, an energy source he seized by slaying his brother Drax to claim the Omega Force originally held by their father Yuga Khan. Introduced in Forever People #6 (March 1972), these beams exhibit homing precision, capable of curving around obstacles, disintegrating matter, inducing temporal loops via the Omega Sanction, or erasing targets from existence, as later expanded in depictions where they adapt to evade defenses. Their versatility—sparing victims for humiliation or pursuing across dimensions—underscores Darkseid's strategic sadism, with power scaled to overwhelm even New God physiology. Lower-tier forces employ standardized energy weapons, such as disc-firing harnesses and plasma carbines issued to Parademons, which deliver concussive blasts or slicing projectiles for and planetary assaults. These armaments, mass-produced in ' forges, enable swarming tactics and have been exported to allied tyrants, amplifying interstellar domination. Servitude devices focus on breaking individual wills, primarily through Desaad's inventions, which include emotion-syphoning apparatuses that extract joy or resistance to enforce docility and rigs prolonging agony for days to extract confessions. Housed in facilities like the Punishment Chambers, these machines employ neural interfaces to amplify pain signals, systematically eroding autonomy among lowlies and captives. Granny Goodness oversees complementary tools in her Orphanage, such as restraint harnesses and neuro-stimulators that condition recruits—often children—into elite enforcers like the by associating disobedience with unrelenting torment, ensuring generational loyalty to . These devices, blending mechanical restraint with psychic conditioning, maintain ' social order by institutionalizing suffering as a pathway to "enlightenment" under tyranny.

Themes and Philosophical Elements

Conflict Between Free Will and Tyranny

The central antagonism in Jack Kirby's New Gods saga pits the enlightened, choice-oriented society of New Genesis against the oppressive hierarchy of , embodying a profound philosophical struggle over human agency. New Genesis, under Izaya, fosters a realm of moral , intellectual pursuit, and voluntary harmony among its inhabitants, who possess abilities derived from their evolved and advanced . In stark opposition, operates as a totalitarian fire pit where enforces rigid control through psychological conditioning, physical punishment, and hierarchical servitude, suppressing individual dissent to maintain his dominion. This dichotomy reflects Kirby's portrayal of tyranny not merely as brute force, but as a systematic assault on volition, drawing from his experiences with authoritarian regimes during . Darkseid's ideology centers on the , a purported mathematical proof of existence's inherent meaninglessness that, if mastered, would broadcast total psychic domination, eradicating and reducing all sentient life to compliant drones. This formula represents the ultimate tyranny: not conquest through arms, but the preemptive nullification of resistance by convincing—or forcing—subjects that choice itself is illusory and futile. Kirby depicted Darkseid's quest as an existential threat, with Apokoliptian forces deploying parademons and mind-probes to extract fragments of from worlds like , often violating the fragile Pact of forged after the Ragnarok . The Pact itself—an exchange of heirs, Orion (raised on New Genesis to temper his violent heritage) and Scott Free (, enduring Apokoliptian conditioning before escaping)—serves as a narrative device underscoring the perils of inherited tyranny versus nurtured freedom, yet Darkseid's incursions repeatedly test this equilibrium. Characters like Orion embody the internal rift: torn between his biological ties to Apokolips' brutality and his adoptive commitment to New Genesis' ideals of self-determination, he wages a perpetual battle against the "dog" within that craves domination. Similarly, Mister Miracle's feats of escape and pacifist philosophy reject ' glorification of suffering and obedience, highlighting as an active, defiant force. Kirby's narrative critiques by showing tyranny's causal fragility—reliant on and erasure of agency—against the resilience of voluntary alliances, as seen in New Genesis' use of Mother Boxes for communal enhancement rather than coercive control. This theme permeates the , where cosmic-scale conflicts resolve not through superior might alone, but through affirmations of choice amid inevitable strife.

Divinity as Advanced Science and Moral Choice

In Jack Kirby's conception of the New Gods, manifests as the outcome of evolutionary leaps and technological mastery rather than inherent endowment. Following the destruction of the Old Gods in a Ragnarok-like cataclysm on their of Urgrund, surviving life forms evolved into the New Gods, beings whose enhanced grants , , and attunement to cosmic energies known as the Source, enabling god-like abilities through biological and technological synergy. This portrayal reframes traditional deities as post-evolutionary apex species, where apparent miracles—such as energy projection via the Astro-Force or instantaneous healing—are products of , blurring the line between empirical innovation and mythic power. Central to this framework is the Mother Box, a sentient, multifunctional device integral to New God society, which generates life essence for sustenance, facilitates interdimensional travel through Boom Tubes, and computes solutions to existential threats by interfacing with the infinite Source. Unlike mystical artifacts in prior mythologies, the Mother Box operates on principles akin to quantum computing and biofeedback systems, yet its capacity to resurrect the fallen or alter reality underscores Kirby's vision of science ascending to divine status, where technological prowess dictates existential dominance. This theme echoes Kirby's broader intent to modernize mythology, depicting gods not as capricious immortals but as evolved entities wielding tools that emulate omnipotence. The moral dimension elevates beyond mere capability, positioning it as a deliberate ethical selection amid cosmic conflict. On New Genesis, Izaya embodies benevolent by prioritizing and communal harmony, forging a pact with that exchanges sons Orion and Kalibak to avert war, symbolizing restraint over conquest. In stark opposition, of pursues tyranny as his divine imperative, seeking the —a formulaic proof that life equates to obedience, nullifying individual agency to impose universal subjugation. This binary choice frames godhood as causal agency: New Gods achieve transcendence through moral volition, where fostering autonomy yields enlightened rule, while enforcing control devolves into despotic , reflecting Kirby's anti-authoritarian that true power resides in ethical restraint rather than coercive might. Characters like Orion, torn between heritages, exemplify this internal struggle, underscoring that demands ongoing resistance to tyrannical impulses.

Kirby's Influences: Myth, War, and Anti-Authoritarianism

Jack Kirby, born Jacob Kurtzberg to Jewish immigrants, infused the New Gods with mythological archetypes reimagined for a technological era, drawing from classical pantheons like Greek and Norse traditions to forge a cosmic saga of divine evolution post-Ragnarök. He viewed traditional gods as relics unfit for modern humanity, stating in 1971, “We can’t be Thor. We can’t be Odin anymore. We’re not a bunch of guys running around in bear skins; we’re guys that wear spacesuits and surgeon’s masks.” This led to the New Gods as successors to Earth's old deities, with New Genesis embodying utopian harmony akin to an advanced Olympus and a hellish forge of tyranny, their eternal strife echoing mythic cycles of creation and destruction. Kirby's World War II service as an infantryman in General Patton's Third Army, where he earned a Bronze Star and witnessed Nazi atrocities including extermination camps, profoundly shaped the series' ontological framework as a Manichean clash between life-affirming freedom and fascist "anti-life." His frontline experiences, advancing through in 1944–1945 amid brutal , informed the war-torn of the gods' from a unified into opposing worlds, with Orion—protagonist and son of —mirroring Kirby's own gruff veteran persona as the "Dog of War" wielding advanced harnesses against apocalyptic forces. This personal history elevated New Gods beyond allegory, embedding raw depictions of industrialized horror into ' fire pits and servile masses. Anti-authoritarian convictions, rooted in Kirby's encounters with pogroms in his youth and Nazi ideology during the war, manifest in Darkseid as a tyrannical archetype blending Adolf Hitler’s conquest with manipulative control, seeking the Anti-Life Equation to eradicate free will across realities. Apokolips society, indoctrinating youth as killers for the regime—"You're not a beast—if you kill for Darkseid!"—parodies fascist hierarchies, with minions like Glorious Godfrey echoing Joseph Goebbels' propaganda and Parademons enforcing groupthink conformity. In contrast, New Genesis upholds voluntary moral choice under Highfather, a Moses-like figure communing with the Source, underscoring Kirby's rejection of imposed order as seen in escape narratives like Mister Miracle's defiance of Desaad's tortures. Darkseid, as the "Anti-Kirby," opposed the artist's lifelong advocacy for individual liberty forged in opposition to totalitarianism.

Reception, Criticisms, and Legacy

Initial Impact and Critical Praise

Upon its debut in New Gods #1, cover-dated February–March 1971, Jack Kirby's series introduced an ambitious cosmic mythology featuring the conflict between the benevolent of New Genesis and the tyrannical forces of , marking a significant expansion of the concept first hinted at in . The issue's double-length format and philosophical undertones, including the Ragnarok-like destruction of the Old Gods, positioned it as a departure from conventional fare, emphasizing themes of destiny, tyranny, and advanced technology masquerading as divinity. This innovative structure garnered early admiration from comic enthusiasts for Kirby's bold synthesis of Wagnerian opera, biblical epic, and , with the artwork—inked by and featuring dynamic effects—hailed as visually revolutionary in discussions of the era. Sales began promisingly, buoyed by Kirby's reputation from Marvel successes like Fantastic Four, but declined steadily amid reader unfamiliarity with the serialized, mythology-heavy narrative and competition from more straightforward titles. By issue #10 (August–September 1972), circulation had fallen below sustainable thresholds for DC Comics, prompting cancellation despite the unresolved storyline, as confirmed by Kirby collaborator in accounts of the Fourth World's abrupt end. DC's editorial insistence on crossover appearances, such as with Deadman in later issues, reflected attempts to boost viability but underscored the series' commercial mismatch with market preferences for accessible adventures over dense world-building. Critically, the series earned praise for its intellectual depth and Kirby's uncompromised vision, with contemporaries noting the introduction of enduring elements like Darkseid's quest for the as a fresh paradigm transcending physical threats. Reviews in outlets like The Comic Reader highlighted the narrative's operatic ambition, attributing its underappreciation to premature execution rather than lack of merit, while Kirby himself viewed it as a personal statement on drawn from wartime experiences. This early recognition, though niche, foreshadowed the work's cult status among creators, influencing figures like in reinterpreting superhero tropes through mythological lenses.

Shortcomings in Execution and Commercial Viability

Despite its ambitious scope, New Gods struggled commercially, with the series canceled after issue #11 in November 1972 due to insufficient sales amid a broader industry downturn. DC Comics raised the cover price to 25 cents for the first four issues to accommodate expanded page counts, a move that reportedly deterred buyers accustomed to 15-cent comics and contributed to declining circulation. Sales figures for the title remain scarce, but contemporaneous reports indicate it underperformed compared to Kirby's Superman's Pal Jimmy Olsen, which achieved around 300,000 monthly copies in 1972, while New Gods failed to sustain similar newsstand viability. DC's distribution challenges and reluctance to invest in promotion for non-Superman titles exacerbated the issue, as the era lacked the direct market system that later supported niche superhero narratives. In execution, the series faced criticism for its dense, interconnected storytelling across multiple titles (New Gods, The Forever People, and ), which overwhelmed casual readers by introducing an expansive mythology, numerous characters, and abstract philosophical themes without gradual . Kirby's bombastic dialogue and operatic tone, while visionary, often rendered characters archetypal and distant from relatable human experiences, prioritizing cosmic spectacle over grounded conflict. The narrative's serialization left key arcs unresolved upon cancellation, preventing Kirby from completing his intended saga and forcing later creators to retrofit elements, which diluted the original vision. DC editorial pressure to simplify plots or incorporate guest stars like Deadman reflected perceived inaccessibility, though such interventions came too late to boost engagement. These factors, compounded by the title's departure from formulaic tropes, limited its immediate appeal in a market favoring accessible adventures over mythic experimentation.

Long-Term Influence on DC Universe and Pop Culture

The concepts pioneered by in the early 1970s forged a persistent cosmic backbone for the , redefining conflicts through epic scales of interstellar warfare and philosophical dualism between New Genesis's benevolence and Apokolips's . , debuting in #134 (December 1970), solidified as DC's archetypal god-tyrant, anchoring narratives that pit Earth's heroes against existential threats beyond planetary bounds, as seen in his role as a in arcs and multiversal crises. This integration elevated DC's mythology from terrestrial heroism to a Wagnerian of divine succession, where the New Gods represent evolved post-apocalyptic deities wielding technology indistinguishable from the supernatural. Subsequent creators have woven Kirby's elements into canonical events, with characters like Orion, , and achieving standalone prominence—Orion as Superman's occasional ally in Action Comics runs, and the pacifist-escape artist duo starring in their own 2010s series amid DC's reboot. The 2024 New Gods relaunch by Ram V positions the pantheon as a bridge across DC's and core continuity, reviving Kirby's boom tubes and source wall lore to interconnect disparate titles like and . Such revivals affirm the Fourth World's resilience, transforming Kirby's standalone vision into an indispensable scaffold for DC's expansive cosmology. Beyond comics, the New Gods' legacy permeates pop culture through archetypal motifs of tyrannical overlords seeking psychic domination, exemplified by Darkseid's influence on Marvel's , whom explicitly drew from Kirby's designs for visual and philosophical depth—Thanos's quest for balance echoing Darkseid's as a tool for subjugating . Kirby's portrayal of "gods" as super-evolved aliens with has informed sci-fi tropes of advanced civilizations as deific impostors, predating and paralleling elements in franchises like Star Wars, where imperial enforcers evoke Apokoliptian hierarchies. Artifacts like Mother Boxes, symbolizing life-affirming computation, have inspired gadgetry in superhero media, embedding iconography into collective imagery of cosmic versus heroic defiance.

Adaptations in Other Media

Animated Interpretations

The New Gods have appeared sporadically in the DC Animated Universe, with Darkseid debuting as a major antagonist in Superman: The Animated Series during its second season episodes "Apokolips... Now!" and "Little Girl Lost" in 1998, establishing Apokolips as a tyrannical world opposing New Genesis. Orion, Darkseid's son raised on New Genesis, was introduced in Justice League Unlimited's episode "The Ties That Bind" (2004), portraying him as a conflicted warrior aiding the Justice League against his father's forces, alongside Metron's brief appearance via the Mobius Chair. These depictions emphasize the Fourth World dichotomy of benevolent gods from New Genesis and oppressive ones from Apokolips, though full ensemble casts remain limited. In direct-to-video animated films, Superman/Batman: Apocalypse (2010) prominently features New Gods elements, adapting a storyline where captures and trains her as a warrior on , with leading a rescue involving and other . The film highlights Kirby's concepts of Astro-Force technology and Boom Tubes, voiced by actors including as . recurs in the , including Justice League: War (2014) and Justice League Dark: Apokolips War (2020), where invades Earth, underscoring themes of conquest but sidelining New Genesis characters. On June 12, 2025, and greenlit an adult-oriented adaptation of Tom King and Mitch Gerads' (2017-2019), with King showrunning and executive producing. The series centers on escape artist Scott Free () and confronting parenthood amid threats from , incorporating , Orion, Lightray, and as key figures. Produced by Titmouse Animation with international studios, it aims to explore and family dynamics within the New Gods mythology, potentially integrating into the . This project represents the most comprehensive animated focus on New Gods to date, diverging from prior villain-centric portrayals.

Live-Action Projects and Attempts

In 2018, announced that director would helm a live-action of the New Gods comic series, with writer Tom King attached to the screenplay. The project aimed to explore the cosmic conflict between New Genesis and within the (DCEU), focusing on characters such as Orion and potentially , though specific plot details remained undisclosed at the time. Development progressed through 2019 and 2020, with DuVernay emphasizing the story's themes of gods as advanced beings grappling with morality, but no casting or production start date was confirmed. The film was officially shelved by in April 2021, alongside James Wan's The Trench, as part of a strategic pivot in DC Films' slate under executive . DuVernay later attributed the cancellation to ' decision to prioritize Darkseid's role in Zack Snyder's Justice League (2021), stating that the studio "did not want to pursue a certain part of the story" involving the character, creating irreconcilable conflicts with the film's planned narrative. King echoed this in 2022, noting the project's removal from the schedule due to overlapping DCEU plans, though he expressed openness to future iterations under new DC leadership. As of 2023, the project remains indefinitely halted amid the reboot led by and , with no revival announced. No full live-action New Gods adaptation has reached production, but elements of the mythology appeared in the DCEU via Darkseid's live-action debut. In (2021), —ruler of and central antagonist in Kirby's New Gods—was portrayed through motion-capture and CGI by , appearing in flashback sequences depicting his invasion of Earth millennia prior and a post-credits of his return. This marked the first substantial live-action depiction of a core New Gods figure, though confined to supporting roles rather than a dedicated storyline. Earlier, a holographic representation of briefly featured in the theatrical Justice League (2017), but it lacked the depth of the Snyder Cut version. Other attempts at incorporating New Gods concepts into live-action have been limited and non-committal. A cloud-like manifestation of appeared in the series finale (2011), serving as a symbolic threat but diverging significantly from comic canon without involving broader New Gods lore. has not pursued additional standalone live-action projects post-2021, prioritizing interconnected ensemble films over isolated cosmic epics amid shifting studio priorities.

Video Games and Miscellaneous Appearances

, the tyrannical ruler of , has been featured as a boss character and playable fighter in multiple DC-licensed video games, often emphasizing his omega beams and superhuman strength. In Justice League Task Force (1995) for and , serves as the primary antagonist in the hero mode storyline, where players control members to defeat him, and he is selectable in versus mode. He appears as in Injustice: Gods Among Us (2013), playable with movesets incorporating his eye lasers and Apokoliptian technology, and returns in (2017) with expanded abilities including ground pounds and teleports. also features in LEGO titles such as (2018), where he is a boss and playable character amid humorous takes on lore. Orion, the son of raised on New Genesis, has more limited but notable inclusions. He is playable in (2011), an MMORPG where players align with New Gods factions in quests involving Apokolips invasions and Astro-Force battles. Orion can be summoned as an ally in (2013), assisting in puzzle-solving with his and weaponry. A statue cameo of Orion appears in the Hall of Justice stage of Injustice: Gods Among Us. The broader New Gods pantheon integrates into 's "War of the Gods" and related episodes, with characters like Kalibak, Steppenwolf, Lightray, , , and appearing in missions depicting the conflict between New Genesis and , including boom tube travels and alliances against Earth threats. Metron has no confirmed playable or major roles in video games, though New Gods technology like Boxes influences gameplay mechanics in titles featuring or Orion. In miscellaneous media, New Gods characters have inspired action figures and collectibles, such as DC Direct's 6.75-inch Metron figure (2008) with Mobius Chair accessory, depicting his role as cosmic observer. released a 7-inch Metron in the line (2024), based on Kirby's designs with articulation for posing in the chair. Series 2 New Gods sets from DC Direct include variants alongside Kalibak, Metron, and , marketed for collectors recreating battles. No major prose novels exclusively featuring New Gods have been published outside comic tie-ins.

References

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