The nation of Kahndaq has become something of a sanctuary state. Ruled by the mystic warrior known to the world as Black Adam, the nation has opened its borders to outcast and outlaw alike. Even now Black Adam plays host to a legion of Amazon warriors, who favor the Amazon princess Diana’s plans to force peace upon the world over Queen Hippolyta’s less aggressive position. Kahndaq is also home to Kara Zor-El – a Kryptonian refugee and cousin of Superman, who has begun training as an Amazon warrior under Diana’s watchful eye.
Simultaneously, a different sort of training is being overseen by a much less traditional teacher. Booster Gold, the time-traveling, glory-seeking screw-up who somehow became The Greatest Hero The World Has Never Heard Of, agreed to take up the training of Jaime Reyes – the protege of his best friend, Ted Kord. It is a role Booster is barely qualified for, having no experience as a teacher and no experience in dealing with things like the strange scarab artifact that attached itself to Jaime, giving him a suit of armor he can barely control. It doesn’t help matters that Jaime is hardly a willing pupil. Still, a promise is a promise and Ted was his best friend. Yet Ted may find one more way to surprise Booster from beyond the grave…
Injustice 2 #41 proves an interesting study in contrasts. The most obvious comparison is the twin stories, detailing two teenage heroes undergoing different forms of training at the hands of two incredibly different mentors. That contrast is also apparent in the artwork, with two different creative teams with wildly different styles illustrating each sequence.
Mike S. Miller and J. Nanjan tackle the scenes set in Khandaq. Miller is in his element here, depicting an incredibly physical battle between Black Adam and Kara Zor-El. Miller’s bold style stands in marked contrast to the more fluid pencils favored by Daniel Sampere, who illustrates the sequences featuring Blue Beetle and Booster Gold. Sampere seems more relaxed compared to the more rigid Miller, and the colors utilized by Rex Lokus seem softer and gentler as befits the comedic tone of the story.
The story itself is a study in contrasts and a fine example of writer Tom Taylor’s versatile nature. Taylor has proven himself capable of writing both high action and low comedy in the past and he does both with equal skill here. Despite the Injustice version of Wonder Woman being a more militant figure than the mainstream take on the character, one can see the more familiar Diana here as she offers Kara Zor-El some advice on why one must fight even when they find fighting distasteful. Fans of the classic comedy-themed Justice League will want to check this issue out for the Blue and Gold sequences, which are easily the equal of everything Keith Giffen and J.M. DeMatteis did with the characters. BWAHAHAHA indeed.