FINAL CRISIS #1 (OF 7)
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Size: pages
Price: 3.99
This review contains spoilers, click here to read
Whenever I get mad now, I think I’m going to yell at the person, “I am not adverse to the taste of human flesh, sir!” Honestly, Morrison writes some really golden lines. Anyways… on with the show…
So, after a great deal of build-up, a disappointing year-long weekly series, some good set-up issues elsewhere, and whatnot, we finally bear witness to the Final Crisis. The third part of the “Crisis trilogy” is here.
The gist of the opening issue goes as such:
·
Metron shows up at the dawn of humanity and give
man its first piece of “technology”: fire.
Naturally, like all tech, the caveman, Anthro, uses it to kill each
other cavemen, starting humanity’s first example of advancement of weapons in
warfare. As the issue nears the ends, Anthro
is transported to Kamandi’s time where the guy declares he needs the weapon
Metron gave him against the gods. It feels a little strange and out of place, but in a Grant Morrison strange and out of place kid of way, so I'm good with it for now. Grant's shown in the past that he can tie up confusing or odd plot points well, so it's up to the next issues to settle my misgivings.
·
Orion is dead (again), setting off a 1011 in the
GL law books. As such the Green Lanterns
decided to quarantine the entire planet in order to find the killer. Yes, the Guardians probably should have picked up on gods dying during DEATH OF THE NEW GODS but they DID have a war with Sinestro to deal with at the time and the aftermath to sift through so it's fine. I do appreciate that we're seeing this is Guardians-of-the-Universe-are-getting-involved big.
·
Right before Orion kicks over, he tells Dan
Turpin “They did not die! He is in you
all!” What’s this about? I’m sure it starts with an “n” and rhymes
with “Pew Gods. Sure enough, Turpin
heads to the “Dark Side Club” off a tip by the Question and finds himself in an
audience with Dark Side, the Seven Soldiers version of Darkseid, using the Anti-Life Equation to enslave people.
· The Monitors punish Nix Uotan for not saving his Earth from the Monarch/Prime fight, paving the way for another Monitor to go ahead with a sinister plot. Woooo…
·
Lex Luthor and Vandal Savage question why they
should give up their control of the Society.
Libra responds by dragging out the Martian Manhunter and killing him in
front of everyone. The issue ends as
somebody (Shilo Norman?) wakes up to see that the news is reporting the Martian’s
death as he sees something (obscured by shadows) on his hands. I'm really starting to like Libra with his almost humorous flair as if he's doing all this just for laughs. I'm sure there are those who will be disappointed by the almost off-handed way J'onn dies, but I think it serves the point to show how dire things are soon to be. It's contribution to the strength of Libra's threat level is certainly much appreciated as well. His motivation, just to see an honest-to-goodness Twilight of the Gods is really interesting and his handling of the Society's Alpha males is really enjoyable. It remains to be seen WHO Libra is. Mister Miracle? Alex Luthor? Grant Morrison? I don't know, but I almost wish Libra is just Libra because I really like the guy.
This wasn't quite the collection of "HOLY CRAP!" moments like we got from the first issue of Secret Invasion, but I don't think that was Morrison's intentions. I think he's looking to build up tension incrimentarily, which is fine as we can be spared a mass drop-off like Secret Invasion #2. The art is certainly the kind of polished and detailed art we've come to expect from J.G. Jones. The dialogue works well for the most part and we've been given a handful of plot threads to mull over until next issue. Like most Morrison tales, I'm sure all that's confusing and weird will be pay off in due time. I'm sure there'll be quite a few that didn't like this issue, but as for me, I really liked it and wait happily for the next issue to roll around.
Art: 4 - Very Good
>’Grant’s shown in the past that he can tie up confusing or odd plot points well,’
He HAS? I’m not saying you’re wrong because I haven’t read all that much Morrison, but in the stuff I am familiar with (52, JLA, X-men, Doom Patrol) I wouldn’t exactly call plotting a strength.
I hope J’onn isn’t really dead, though. Grant always did well by him; maybe he comes back as a God or something.
I haven’t picked up my books this week, but I have to agree with ohcaroline, Morrison does have a tendancy to not really tie things up particularly well and instead his strenght is in his unique imagination. Then again I could just be bitter from how he left New X-Men.
Apples and oranges, I’d suspect then. I actually like his X-Men run and thought he tied things up like Sublime and Kick nicely or like with the whole 4th wall thing in Animal Man. Of course, I just naturally like weird stuff in comics so that might be it more than anything.
@Tork I don’t mean I hate his comics (I only hate some of them) but I feel like anybody who goes to Morrison looking for strong plotting is going to be frustrated. Personally, to enjoy his stuff, I just kind of have to surf on the cool concepts and not think too much about the story logic.
I’m with Tork on this one.
I think the death wasn’t rushed at all. In fact, I think it was genius. "I’m a baddy. This is what I can do. Join me." He was applying for the biggest badass villian job and the produced on the spot in front of the major players. Grant made a death sequence appear unconventional because it was in fact supposed to be unconventional. This is Grant Morrison folks. It is about pushing the envelope of what typical/normal sequences should occur in a comicbook. Especially one involving a major death. A founding JLA member went lights out pretty fast. This is what it would take to get Luthor and Co. on board. Forget about the "how he got caught" part. It was a great Morrison moment. I loved it.
J’onn’s dead? I liked that character… frowny emoticon.