It doesn't suck.
"Final Crisis" has two important things in its favor: Grant Morrison's writing and J.G. Jones' art. The first panel alone — a simple scene of a caveman and the word "Man" — pulls you in. This first issue of seven has plenty of layers, and I'm looking forward to more being revealed. I'd be lying if I said I understood everything that's taking place, but that's what the Internet is for. (One quibble: It's time for D.C. to admit that Lex Luthor looks like an idiot in that super-suit. If anything, it makes him seem less evil.)
But as much as I enjoyed the first issue, the experience is tainted by event fatigue. Or in my case, Crisis fatigue. I know the major publishers have to throw out shiny, money-making objects, but the mega-hyped crossover thing is wearing thin. Yeah, I know I don't have to buy it, and supporting "Final Crisis" is just more encouragement for D.C. to keep doing it. I'm not a Marvel person, but I even fell for "Civil War" — and we know how that turned out. The problem is that if you enjoy certain superhero comics, ignoring the crossovers could leave you completely in the dark. And some of them have been great ("Identity Crisis") or at least good ("52").
It wouldn't annoy me as much if the consistently good alternative books got more love, but that's just life. It's like wishing that Fountains of Wayne was as big as Nickelback. No amount of praying will make that happen, so I have to let it go.
On to issue No. 2, then.
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