FINAL CRISIS #7 (OF 7)
Review by: EAGLEBAUER
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This review contains spoilers, click here to read
I'm sure that others will have much more to say with regards to Final Crisis, but I thought I'd offer my two cents anyway. As much as I don't want this to turn into a Grant Morrison vs. the Readers debate, it is clear that Morrison, in Final Crisis, is offering a rebuttal to those who call for a coherent, cohesive, unified DCU continuity. Instead, Morrison is celebrating the fact that, after 70 years of stories, the DCU is messy, confusing, and because of this, liberating. To this end, Final Crisis is less about what happens to individual characters, and more about our ability to tell stories about these characters. After setting up the very end of all existence itself in the previous chapters, the power of myth triumphs over evil here in the final issue: Superman destroys Darkseid with a song, and rebuilds the universe by telling a story through the Miracle Machine. The DCU, then, is re-booted not along a unified thread of continuity, but as the basis for any story we can imagine. To limit these stories would be death for these wonderful imaginary characters.
Grant Morrison clearly sees these stories as a collaborative effort between the writer and the reader: the narrative leaps and "channel-zapping" style allows us as readers to fill in the gaps of the story (even if we fill it in with the story of a lazy writer). Now, I for one love this sort of huge, sprawling meta-narrative, since this is exactly the sort of mind-bending, cosmic, larger-than-life story that can only happen in comics. Others, of course, may not like it.
Overall, there were times when it felt like Morrison bit off more than he could chew, and DC definitely screwed up in the marketing and scheduling of this book. However, if Final Crisis was intended as statement about the power of stories and myths, specifically those found in comics, I for one, found it a great success, and I can't wait to re-read it.
Story: 4 - Very Good
Art: 4 - Very Good
Art: 4 - Very Good
The meta-fictional kind of story is one that I am a sucker for. I was becoming a tad disenchanted with Final Crisis around issues 4 and 5 (The same time so many people were getting into it!). This final issue really struck at the heart of my sensibilties.
The DCU, then, is re-booted not along a unified thread of continuity, but as the basis for any story we can imagine. To limit these stories would be death for these wonderful imaginary characters.
Between this statement, Templar’s review and Kirkerson’s analogy of this as a jazz tour de force and most comic book events as big-hair rock albums (a lot of fun, but straightforward and easy), I feel less bad about enjoying this, and as though I have more context to enjoy it even more on re-read. "The stories that can be told with the DCU characters are infinite in scope, and linear continuity will only choke them," is as good a manifesto as any, and explains, in part, why so many readers disliked this.
It’s easy to compare this to Secret Invasion, linear, continuity-based storytelling at its worst, but it should also stand next to Infinite Crisis, which was badly named. In fact, if the two series swapped names they would make much more sense. Infinite Crisis was about continuity, the connection between all the stories, and the ways in which stories are judged based on the strength of those connections. In other words, IC was about limiting stories: one world, one continuity, one outlet for storytelling. FC was about tearing down that wall. Want to tell a story about Captain Carrot? Go for it. Some people think that talking animals are awesome. Want to tell a story about a world where the black/white racial mix is reversed? Go for it. Awesome. Don’t justify. Don’t explain. Don’t spend pages walking your reading through why it fits into continuity. Just use the best characters in comics to tell the best story you can tell.
That’s what the DC Universe is about, for me and, I think, for Grant Morrison, as well.