Where in the world is Bruce Wayne? Or, to be more accurate, when in the world is Bruce Wayne?

It has been nearly a year since comic book readers last saw Wayne, better known to most as the original Batman. While battling a god-like villain named Darkseid during DC Comics’ Final Crisis series, Batman was hit by an energy beam that sent him hurling out of control to an unknown place in time. Bruce Wayne hasn’t been seen or heard from since. Until now.

In 2010, DC Comics will launch a new series created and written by legendary comic book scribe Grant Morrison. Batman: The Return of Bruce Wayne finds the original Batman trying to reclaim his memory, his identity and his proper place in time and space. The series marks the return of one of comic book’s most iconic characters and, Morrison says, begins an important new chapter in a complex series of Batman stories that the author has been developing and intertwining over the past five years.

Morrison recently took time with USA TODAY’s John Geddes to answer questions about the upcoming series and provide some insight and hints about where the story will lead.

Q: In Final Crisis, the original Batman, Bruce Wayne, is hit by the Omega Beam during a battle with the villain Darkseid. This beam sends Wayne spinning into the unknown, cast off into the time stream. He is thought to be dead by both friends and enemies. In the aftermath, the role of Batman is assumed by the original Robin, Dick Grayson, and the role of Robin is assumed by Bruce Wayne’s son, Damian. What else should readers know as a lead-in to The Return of Bruce Wayne?

A: Could there possibly be anything else to know after that masterful summing-up?

To be honest, I don’t think readers need to know even that much in order to enjoy Return. Although it’s also the latest chapter in the long-running, “definitive” Batman epic I’ve been trying to pull off since 2005, Return has been structured and written to read as a complete story on its own — everything a new reader needs to know will be in the pages of the book itself. Read all the graphic novel collections together, however, and a much bigger, more complex and involving story will emerge.

Return is a fairly intricate time-travel story in which the world’s greatest hero, the optimum man, is up against the supreme challenge to his ingenuity and skill. How does Batman get out of the ultimate trap? It has a mystery and an apocalyptic countdown going on, there are some major twists and reveals, and it sets up big changes to the Batman universe status quo.

Q: It’s my understanding that Return will follow Bruce Wayne through different eras as he makes his way — presumably — back to the modern day. Any hints on which eras we might see Bruce exploring in his quest to find his proper place in time?

A: The first episode is set in the Late-Paleolithic Era, the second is in Pilgrim-era Gotham Village, and we also get to see Gotham in Western or noir style.

Each of the stories is a twist on a different “pulp hero” genre — so there’s the caveman story, the witchhunter/Puritan adventurer thing, the pirate Batman, the cowboy, the P.I. — as a nod toward those mad old 1950s comics with Caveman Batman and Viking Batman adventures. It’s Bruce Wayne’s ultimate challenge — Batman vs. history itself!

I’ve tried to thoroughly research each time period so that the stories work not only as at least fairly plausible reconstructions of life in the real 17th or 19th centuries but also as romanticized “pulp” versions too, while at the same time referencing the more extravagant history of the fictional DC Comics Universe in the background.

Q: How many issues are planned for The Return of Bruce Wayne series?

A: There are six issues of Return. The first one’s 38 pages long, the rest are 30.

Q: Without giving away any spoilers, how will/would the return of Bruce Wayne to the present day affect the dynamic of the current Batman & Robin duo? Might we see Damian Wayne develop into a new character?

A: As I mentioned above, the status quo of the Batman universe will be changed completely after this book. This is the beginning of a new and different take on the idea of Batman as we approach the 010s — the latest of these ever more fleeting and flimsy modern decades!

Q: There are certain readers out there who will undoubtedly complain about yet another rebirth or reincarnation of a famous comic book character. What about Return is going to be different from these past stories in which iconic characters have been brought back to life?

A: As we saw at the end of the Final Crisis book, Bruce Wayne was never dead, only AWOL, so this was never a literal “back to life” story. And I like to think the series will have a wider general appeal than some of the continuity driven “death and rebirth”-type stories we’ve seen before.

This is more for me about putting Batman/Bruce Wayne through my own, and my collaborators’ version, of the ultimate test of who and what he is. So far I’ve had him overcome the Devil, Madness and Death; now we see him, truly lost, amnesiac, and stripped down to basic human survival mode in some extremely hostile environments and unfamiliar situations. He’s the best fighter in his world, he’s one of the smartest and most driven men who ever lived, but we’ve seen him outwit the Joker 10,000 times. This was a way of taking the character off the grid, as they say, and reminding readers what kind of man he is and what he’s capable of. If you wonder why Batman is so cool — here’s why Batman is so cool.

This is an attempt to look at a very familiar character from some unusual angles. And it’s about Bruce and who he is — I want to remind people how the man and the mask are inseparable parts of a terrifying whole.

Q: You’re a writer who has never been afraid to experiment with storylines involving major characters. What are some of the challenges you face when developing stories specific to such a high-profile character as Batman/Bruce Wayne?

A: The challenge is to keep everything familiar while making what appear to be far-reaching changes and having characters react as if those changes are permanent!

Batman needs to be eternally young, renewed like some pagan Fertility King to suit the changing tastes of his audience in each fresh generation. Batman can never grow old or die — and stories, no matter how good, which depict these events cannot be considered “canon.” Batman was born in 1939 and would now be a sprightly 70-year-old if he aged like the rest of us. The “real” Batman, however, enjoys godlike immortality and must always be 30-ish moneyed orphan, Bruce Wayne, who dresses as a bat to fight crime. The trick is to tell stories which expand the limits of how far you can go and still maintain the integrity of the basic idea. And everything has to be done with the knowledge and understanding that I — as the current writer — am only a tiny link in a long chain of all the people who already have or will one day tell stories about Batman.

Q: Your writing for Batman over the years has seen you interpret the character through a variety of lenses (a Zen-warrior, a darkly philosophical detective, the traditional hero, etc.) With Return, what type of Bruce Wayne are we going to see?

A: All the elements that make up this great pop icon will be upfront — his intellect, his detective skills, his martial arts abilities, his heroism and compassion and grit. His chiseled cheekbones! In this series, in particular, he represents us, humanity, at our very best and most resourceful. And, in the first issue, we get to see the many advantages ninja training has over the traditional caveman grunt-and-lunge technique.

Batman’s story begins with Bruce Wayne, kneeling by the bodies of his murdered mom and dad. To me, at the most basic root of Batman is the story of the ultimate survivor. The Return of Bruce Wayne— a title that becomes increasingly ominous as the story progresses — puts that aspect of Batman under the microscope.

Q: Themes play such a huge role in most, if not all, of your writing. Is there an overarching theme running throughout the story of Return?

A: Survival. Not only the physical survival of our hero but the survival through time of memories, grudges, artifacts, ideas. What persists? What endures?

Q: Over the years, you’ve been involved with some of the most well-known and beloved characters out there — Batman, Superman, JLA, X-Men and Fantastic Four, just to name a few. Are there other iconic comic characters you’d like to reinterpret or for whom you’d like to develop storylines?

A. I’m very happy with the take on the Captain Marvel/Shazam universe that appears as part of the upcoming Multiversity series of books, but that’s it for the moment. Along with Geoff Johns and Marv Wolfman, I’m part of the consulting team at DC Entertainment involved in rethinking some of DC’s big characters for the screen. So between that and the comics, I think I’ve had my say on just about every comic book character I’ve ever had any interest in.

Q: Who else comprises the creative team attached to Return? Can you speak about how it’s been to work with this team?

A: I haven’t seen any of the art yet. The book launches in the summer and each issue is drawn by a different artist, so that side of it has barely got underway. I know Chris Sprouse is penciling the first one, so I’m fairly confident it’ll be the best comic set in the Late Paleolithic Era that you’ll have seen for a very long time. I’m a huge fan of Chris’ work, so I’m keen to see what he’s done. I think Frazer Irving might do the second one, cementing his reputation as the comic world’s most prominent Puritan Goth Adventure artist.

Q: Aside from Return, what new work can readers look forward to from Grant Morrison in 2010?

A: Mostly Batman work — I’m doing at least another year of stories with Dick Grayson and Damian Wayne in the Batman and Robin book before that book starts to dovetail with Return and we rush headlong and screaming into the next big, earth-shattering, game-changing twist in the life of Batman.

I’m slowly working my way through the Multiversity sequence of books and loving it. I’ve set myself the task of making each issue the best superhero story I’ve ever written, so I’m growing them patiently and all together before I hand the scripts out to artists.

There’s also the Joe the Barbarian book with Sean Murphy, which starts in January at Vertigo and is my first new, creator-owned comic for a while.

——–

What do you think of the plans for bringing Bruce Wayne back into the fold? Let us know below. If your interest is piqued, be sure to check back soon! We’ll let you know as soon as you can pre-order the first issue of Batman: The Return of Bruce Wayne.

In the meantime, check out all our Batman stuff.

10 books reviewed:
Amazing Spider-Man #596 (BUY IT)
Batman and Robin #1 (BUY IT)
Dark Avengers #5 (SPLIT VERDICT)
Black Panther #5 (DON’T BOTHER)
Skaar: Son of Hulk #11 (BUY IT)
Superman: World of New Krypton #4 (WAIT FOR THE TRADE)
Ultimate Spider-Spider #133 (BUY IT)
Punisher: Naked Kill #53 (DON’T BOTHER)
Outro, Mighty Avengers #25 & Conan #11

Agree? Disagree? Think we don’t know what the heck we’re talking about? Leave your comments below!

And if you think we your feedback doesn’t matter, you’re wrong — last time out everyone begged us to stop putting the intro in between every segment and we listened — thank God!

Special thanks to Midtown Comics for providing Jon’s books for review.

NRAMA: Superman’s final wish – Why did he wish for a happy ending, rather than something literal, like Batman coming back?

GM: ‘Batman coming back’ is a little bit too specific an ending for a story about stories. Let’s face it, there’s always a dangerous ‘Monkey’s Paw’ element to making any specific wish – what if Batman ‘comes back’ but as a zombie, or a villain, or as a tiny little Batman who just sits there? 

How much would you pay for Grant Morrison to write six issues about a tiny little Batman who just sits there? Because I would pay $3.99 an issue. Hear that, DC? That’s $23.94 right there.

Maybe he could team up with Scarface’s doll? I don’t know, I’m just spitballing here.

I watched the finale of The Shield the other night. It was nothing I expected and everything I wanted out of the end of that series. Loose ends were wrapped up without it being obvious or rushed, characters moved logically in their arcs, and I was left with an overall sense of both completion and wonder. What’s next for the cast? Where are these characters going to go?

Like The Wire, the ending to The Shield was well-done and elegant. We found out what we needed to know, some of what we wanted to know, and it all made sense. It fit together.

It’s kind of funny that I read this the night before I read Batman #681, which was basically the opposite experience.

I thought the first half of the book was pretty good. The action kept going, the story cracked, and the typical Morrison Batman got to play his “I suspected all along” card. I don’t buy his admission that he never loved Jezebel Jet (that was very much a “I’m rubber, you’re glue” scene), but the rest of it worked. He was ready. He didn’t know what he was ready for, or when it was coming, but he was prepared for when it got there. The reveals were nicely paced with the Club of Heroes, too.

Just going on the first part of the book alone, it’d be one of the better issues of Morrions’s extremely rocky and uneven run. It’s good, but not Morrison Good. It isn’t that far from Rock of Ages or one of the better Chuck Dixon issues.

But, my problem is with the reveal of who Simon Hurt really is, the “death,” and the feeling of anticlimax I was left with. Those reveals and scenes dropped the book down to hovering just above average for me. Grant Morrison promised that the reveal of the Black Glove’s identity would be the biggest surprise for Bat-fans in 70 years and blow the lid off the series and so on and so forth.

Turns out that the Black Glove is a group of five rich people, and Simon Hurt is an actor named Mangrove Pierce, who must be nigh-on fifty years old and hates Bruce Wayne enough to try and ruin his life. I just checked– all the lids are still on the series and I have yet to spittake.

The reveal is the worst sin a comic book can commit- it’s boring. Hurt claims to be Thomas Wayne, but Batman tells him that no, you’re wrong, you are actually Mangrove Pierce. Hurt replies that Pierce is just the skin he’s wearing, bringing the idea of fictionsuits to my mind, and that he is actually just the hole in things.

I mean, really? That’s it? He isn’t Alfred, Robin, or anyone else that anyone has any reason to care about? He’s some rich, and old, jerk who looks just like Bruce Wayne and his father? That sucks.

I wonder if I’m not being fair to the story, but then I remember that Morrison’s run has been seeded with all kinds of clues and allusions and depth. It’s clear that something is supposed to be there, but what we got in Batman 681 was nothing. Less than nothing, in fact, considering the build-up to a nothing reveal.

Simply put– We, as readers, expect more from Morrison. He’s built a rep for writing comics that are interesting to talk about, and feature topics that can fuel conversation for weeks or months. Tim Callahan wrote a must-have book on the man’s work.

Fantastic Four: 1234, New X-Men, and The Invisibles alone have all dealt with the idea of ultimate evil and identity and done it fairly well. My guess for the identity of the Black Glove was that he was Batman’s tulpa, as seen in FF:1234. After enduring Thogal, Bruce expelled all the negativity that’s followed him around since his parents died. (One of the best bits in Year One is the picture of Bruce’s eyes just after his parents were shot. His eyes are not sad, or despondent, or closed. They are open, angry, and resolved. That is the moment Batman was born, though he wasn’t given shape until nearly twenty years later.) Expelling the energy healed Bruce, but all that energy needed somewhere to go.

David Uzumeri had a fun theory about Alfred being the glove. Graeme McMillan and Jeff Lester told me it’d be either Robin or Alfred one night, and had various reasons why. We’ve talked it over for plenty of hours and dozens of emails. Batman RIP 1-5 gave us plenty of things to chew on and discuss.

Batman 681 just gave us something to be disappointed about. Geoff Klock nails a lot of the reason why here, and I agree with his points. We got a lot of build-up for a payoff that would fit pretty well on any generic mid-90s “Superhero… no more!” story, complete with the exploding helicopter and leftover bit of costume.

I was expecting the next New X-Men (solid story, uneven art teams, good payoff), but I got the next Knightfall instead. A well-written Knightfall, but a Knightfall nonetheless.

The following review is excerpted from Comic Book Revolution — click here to read CBR’s full recap & review

Art: 9/10
Story: 8/10
Overall: 8.5/10

The Good

At first blush, I thought that this issue delivered an incredibly anti-climactic ending. However, after the third reading I have to say that my opinion has changed drastically. Practically every line of dialogue and narration has a meaning that requires the reader to carefully navigate the story and stop to investigate the clues from each line.

Morrison finally reveals how all of his stories on Batman beginning with Morrison’s Batman story in 52 all tie together. All the previous plotlines and story arcs slide together in a pleasant fashion as everything finally makes sense. Morrison is actually rather straight forward in his explanations in this issue compared to some of his other work.

Morrison reveals the reason why Bruce wanted to undergo the Thorgal ritual during 52: to savor death so that he could experience every eventuality. This fits in with Morrison’s take on Batman in that he is a man driven beyond all sanity in order to be able to handle anything that might come his way. And death was about the only last experience that Bruce had not prepared for so the Thorgal ritual was a logical final step by Bruce to experience everything that a human possibly can. Also, by having Bruce experience death during the Thorgal ritual and then eliminate all of his fear and doubt Morrison prepared the way for Bruce to “die” in this RIP story and still find a way to survive.

I continue to enjoy how Morrison writes the Joker. This is one of my favorite versions of the Joker. Morrison reveals that the Joker has been literally driven insane by Batman in the Joker’s attempt to get the Batman to loosen up. Normally, writers show how the Joker’s madness has impacted Batman’s psyche. This scene offers the reader a unique look at the psychological war between Joker and Batman from the other perspective as we see how Batman has driven Joker crazy. This scene shows that Batman is as adept at psychological wars as the Joker.

Batman #681 was basically the thesis statement on Morrison’s view of Batman’s character. Morrison has always presented Batman as a force of will personified. Morrison’s Batman is always in control and plans for absolutely anything and everything.

This take on Batman’s character is clearly presented in the scene with Batman in the coffin and in the flashback scene. The way that Batman so calmly extricates himself from the shallow grave was vintage Morrison Batman. And the way that Bruce, out of a force of habit, switches the cups of tea in the flashback scene and then reveals that he carries antidotes for any toxins that he is not immune to was also typical Morrison.

While the showdown between Dr. Hurt and Batman might not have been as dramatic and intense as I was expecting, it was still well done. I do not believe that Dr. Hurt is Thomas Wayne.

Now, Dr. Hurt is either simply the doctor who “became” the hole in Bruce’s memory due to the psychic implants. Or Dr. Hurt is literally the Devil. In Bruce’s final entry into the black casebook he admits that his attempt to see into the deepest dark and into the heart of the storm of madness that he discovered some pure source of evil. That he found the Devil himself.

The Devil also appears in the plotline involving the Black Glove movie made by John Mayhew. It seems that Morrison might have been inspired by David Lynch’s Inland Empire where Lynch deals with a movie where all the actors and the director were all killed and that the movie itself was said to be cursed by the Devil. We learn that the actors and the director of Mayhew’s movie are all either dead, missing or insane. We also learn that it is said that the Devil himself cursed the movie. This points to the possibility that the Devil is indeed either Dr. Hurt or that the Black Glove works for the Devil.

In the final moment of the scene with Hurt and Bruce we see Bruce’s black glove smashing through the helicopter window just before the helicopter crashes. I have to wonder if maybe Morrison is alluding to the fact that by coming into contact with a pure source of evil that Bruce has become his own greatest enemy. That Bruce is somehow connected to the Black Glove. After all, Bruce does wonder in the flashback scene if in his attempt to do only good that he has only managed to make things worse. Bruce wonders that maybe unconsciously he has been his own worst enemy.

Now I do have a really insane idea that maybe the Devil is Darkseid. After all, Darkseid is considered to be a pure source of evil. And the monk’s eyes turn red which suggests that he is under the control of Darkseid. That would open the possibility for Dr. Hurt to be Desaad in human form.

Maybe Darkseid has targeted Batman as a serious threat in his ability to take over Earth during Final Crisis. That Bruce’s knowledge of death and pure evil from the Thogul ritual would allow him to come up with a way to defeat the Anti-life equation and Darkseid’s effort to make Earth into a new Apokolips. That would explain why Bruce said that when he saw the Devil that there was fear in his eyes. This could be a hint that Darkseid is afraid of Batman ruining his plans over in Final Crisis.

Okay, enough of my crazy speculating. Let’s talk about the most “stunning” revelation in Batman’s 70 year history. And that is that Morrison has Hurt state that Thomas and Martha Wayne were not a victim of some random street crime. That instead, that Thomas and Martha Wayne were the target of a hit. Morrison suggests that the Black Glove hired Joe Chill to kill Thomas, Martha and Bruce. And that, evidently, Joe Chill lost his nerve that night and was unable to kill Bruce.

It is likely that the Black Glove invited Thomas and Martha Wayne to join them. And it follows that when Thomas Wayne rejected their offer that the Black Glove decided to kill him, his wife and his son. Therefore, it follows that the Black Glove created the Batman. And now the Black Glove wants their creation for themselves. And that if they cannot have the Batman then they will destroy him.

Hurt makes a point of asking Bruce to swear to serve the Black Glove in return for Hurt not distributing the lies about Thomas, Martha and Alfred to the Gotham media. And once Bruce spurns Hurt’s offer, Hurt then curses Bruce’s cape and cowl and states that the last time that Bruce wears them will be his last. And of course, earlier in this scene we saw Hurt trying to activate one of his last implants in Bruce’s mind by commanding Bruce to give up being Batman. Clearly, the Black Glove feels that Batman is their weapon and that if they cannot control him then they want him destroyed.

I enjoyed how Morrison had all of Batman’s allies rushing to his aide. And the best part was that Morrison had Dick being the first ally to arrive at Bruce’s side. The first Robin deserves that honor. And I liked how Batman acknowledges how Dick never lets him down. There is no doubt that Batman has plenty of faith in Tim, but Dick will always be the son that he expects the most from.

Morrison ends Batman #681 with a nice lead in to the Battle for the Cowl story arc. We see Nightwing physically removed from the rest of Bruce’s allies and holding Bruce’s cape and cowl. This was a powerful image that seems to suggest that Dick will be the winner in the Battle for the Cowl story. The six month later scene with Le Bossu also hints to the reader that whoever wins the battle for the cowl carries on the mantle of the Batman.

I loved how Talia uses her ninja Man-Bats to take out Jezebel. You just do not mess with Talia’s man!

Finally, I liked the epilogue at the end of this issue. We see how Bruce is inspired at a young age by Zorro, a crime-fighter clad in black. Bruce’s wondering about a modern day Zorro in Gotham prompts Thomas Wayne to state that “The sad thing is that they’d probably throw someone like Zorro in Arkham.” We then see a black panel with the word “Zur-En-Arrh” in red and backwards. Now, this might sound crazy, but is it possible that Zur-En-Arrh means Zorro in Arkham?

The Bad

Again, the same criticisms of earlier issues of RIP will apply to Batman #681 as well. If you do not enjoy Morrison’s style of writing then there is little chance that you will dig Batman #681. This is another issue full of Morrison’s typical metaphysical musings.

Many readers will also find the ending to Batman #681 to be incredibly anti-climactic and disappointing. I certainly had much higher expectations for this finale that what Morrison delivered. Instead of getting the most “shocking” reveal in 70 years on Batman the reader got the most over-hyped reveal in 70 years on Batman.

And some readers will likely feel cheated that the real conclusion to what happens to Batman will occur in Final Crisis and not RIP. Many readers will probably feel that the conclusion to Batman’s fate should have been carried out during RIP itself.

Another criticism of the ending is that Morrison employed a common and recycled ending by having the helicopter explode and no bodies being found. This is such a predictable and often used type of ending that the reader has seen so many times before. The ending to this issue simply felt a bit weak compared to the rest of RIP.

Another problem with RIP is that the general basis for the story of having Bruce retire from being Batman is repetitious and unoriginal. At the end of RIP I got a feeling that was too similar to what I got at the end of Knightfall. The fact is that DC is not doing anything new with Bruce’s character by making him “die” or “retire” from being Batman. We have been down this road before.

Another concern that I have with Batman RIP is if other writers will actually acknowledge what Morrison has done during his time on Batman. Or will writers that follow Morrison simply ignore all that Morrison has given us on Batman?

Overall

No, Batman RIP is not the greatest Batman story ever told. And yes, there are some weaknesses to this ending. But, all in all, this was a creative and intriguing Batman tale that captivated my mind and held my interest from start to finish.

For more reviews, scans, story recaps and news visit Comic Book Revolution!

Writer: Grant Morrison
Artists: J.G. Jones, Carlos Pacheco & Jesus Merino

Art: 8/10
Story: 8/10
Overall: 8/10

The Good:
Morrison is not simply going through the motions in trying to hit all the basic elements that you find your standard issue big event story. Whether the story works for some readers or not, it is clear that Morrison has poured his heart and soul into this story.

I love the fact that Morrison has removed the big three in Batman, Superman and Wonder Woman from the mix. This enables the other heroes in the DCU a chance to shine. And I found the selection of Alan Scott to be the de facto leader of all the remaining super heroes to be a perfect choice. With all due respect to the big three, Alan Scott remains to be the dean of all the super heroes in the DCU. And it is only proper that during this apocalyptic moment that the heroes in the DCU all turn to Alan Scott for leadership and inspiration.

Morrison delivered several touching scenes in Final Crisis #4. I thought the scene between Black Canary and Green Arrow when Ollie stays behind to destroy the transporter machine was well crafted. Morrison made this scene sweet without it being melodramatic. Amid all the chaos and death spinning out of evil that has saturated Earth, the genuine love between these two heroes was a refreshing sight.

Of course, the scene that I found to be the most emotional was the scene between Barry and Iris. Morrison crafts a strong scene as the power of love proves strong enough to defeat the anti-life equation. Obviously, Barry must be one hell of a kisser. This scene was one shining ray of hope in what was otherwise an incredibly dark and grim issue where evil rules the day at every single turn.

I actually did not mind the rather cursory and vague description of how Barry came back to life. The fact is that Final Crisis is not the proper place and time for that story. I would rather than Morrison focus on telling his story and not get sidetracked too much by going in depth into what happened with Barry. The full story on how and why Barry came back to life is going to be reserved for Johns to investigate and flesh out over on The Flash: Rebirth.

Turpin’s narration is by far the best part of Final Crisis #4. The line by Turpin that fighting back Darkseid was like trying to knock the ocean unconscious was excellent. I enjoyed how Morrison handles Turpin’s valiant but ultimately futile struggle against Darkseid. The human spirit is strong, but Darkseid’s will is even stronger.

I was surprised at how nice the artwork was for Final Crisis #4. I generally do not enjoy artwork by committee, but Jones, Pacheco and Merino do a fantastic job with the art in this issue. These three artists manage to deliver a fine looking issue that does not have the inconsistent and schizophrenic look that many comic books possess when they have artwork by committee. I am glad that DC went this route rather than delaying the title.

The Bad

Many readers will be turned off by the controlled and measured pace that Morrison has employed during the first four issues of this event. I was certainly hoping that the pacing would pick up a bit with Final Crisis #4.

Another complaint would be that it sure seems like an awful lot happens off-panel and between issues. Rather than delivering a traditional big event and focusing mostly on the large fight scenes, Morrison is eschewing the large fight scenes and giving most of his attention to the “in between” scenes that we usually do not see in big events. This is a neat and original take on the format of a big event. But, the unintended consequence of making the reader feel like we are constantly missing portions of the story is sure to turn off some readers.

I also dislike the fact that in order to be fully up to speed with the story, the reader has to read Final Crisis: Submit before reading Final Crisis #4. It isn’t that Final Crisis #4 is incomprehensible if you have not read Final Crisis: Submit, but Final Crisis #4 certainly makes a lot more sense if you have. If anything, DC should have at least placed some type of warning or suggestion on the front page of Final Crisis #4 urging the reader to read Final Crisis: Submit first.

I am also not too sure how new reader friendly this story is. Morrison is weaving a complex and dense story with Final Crisis. Despite my criticisms about how shallow and unoriginal Secret Invasion is the fact remains that Secret Invasion is extremely new reader friendly. And it is reflected in the sales numbers. I just do not feel that Morrison has made Final Crisis a story that has much mass appeal.

Overall

Morrison continues to treat the reader to a delightfully dense and complex read that gets better with each reading. Readers who love to really sink their teeth into a substantial story with plenty of finely crafted dialogue, strong plot development and great character work will probably enjoy Final Crisis #4.

For more in-depth reviews, story recaps, scans and news visit Comic Book Revolution!