Written by Brian Azzarello; Art by Phil Noto; Sketchbook material and variant cover by Rags Morales; Cover by JG Jones

Doc Savage returns to DC Comics…and comes face-to-fist with the Batman! Superstar scribe Brian Azzarello (100 BULLETS, JOKER) and the breathtaking art of Phil Noto combine to shine the first light on a shadowy new version of the DC Universe, where the thugs run rampant, corruption runs deep, and even heroes can’t be trusted! Doc Savage, the Man of Bronze, hates what he’s heard about the connections between a grisly murder and Gotham City’s violent new vigilante. But the Batman can’t abide do-gooders getting in his way…and his .45 just won’t stay in its holster!

Be here for this vital prologue to an upcoming 6-issue miniseries by Azzarello and Rags Morales (IDENTITY CRISIS), which will pull back the curtain to reveal the full width and breadth of DC’s new pulp-influenced universe. This special issue also features sketchbook material by Rags Morales that will show you just what you’re in for! You might think you’re ready – but you’re very, very wrong…

Format: FC, 56pg.
Price: $4.99

Jason Aaron
Dan Abnett & Andy Lanning
Lee Bermejo
Simone Bianchi
Dennis Calero
Keith R.A. DeCandido
Phil Jimenez
JG Jones
Ron Marz
Tony Moore
Rick Remender
Eduardo Risso
Brian Wood

Also, 25% Off All Graphic Novels, plus variant covers for those who care about such things: Dark Avengers #1 by Adi Granov and Witchblade #124 by Tyler Kirkham

Check http://www.midtowncomics.com/custompages/nycc-2009.asp for updates

Jason Aaron
Dan Abnett & Andy Lanning
Lee Bermejo
Simone Bianchi
Dennis Calero
Keith R.A. DeCandido
Phil Jimenez
JG Jones
Ron Marz
Tony Moore
Rick Remender
Eduardo Risso
Brian Wood

Also, 25% Off All Graphic Novels, plus variant covers for those who care about such things: Dark Avengers #1 by Adi Granov and Witchblade #124 by Tyler Kirkham

Check http://www.midtowncomics.com/custompages/nycc-2009.asp for updates

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.

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