![]() He just sits on his throne, taking advantage of a battle he already won, imposing his will on an entire planet and pulling it into a singularity. He doesn’t do any traditional super villain things in the entire story. Darkseid IsĪnother interesting thing about Final Crisis is how much damage Darkseid does just by existing. ![]() There’s an appeal to never having to worry about making the wrong choice.īut we want to be able to make choices. The brain likes taking shortcuts around cognitive load. It’s insidious, because psychological research has shown that decisions do take effort, and it is easier to offload tough decisions to a schedule, a policy, a leader, etc. ![]() Those who have submitted spout slogans about how it justifies anything, how it’s so much easier than the struggles of life and love. The Anti-Life Equation is so terrifying because it’s not just mind control, it compels the surrender of free will. It streamlines the story, but I think it streamlines it a little too much. Superman’s absence during the invasion is explained by having Brainiac 5 recruit him directly from Lois’ hospital room, sending him off to Legion of Three Worlds, and Ultraman’s appearances at the end are replaced with Mandrakk’s co-conspirator Monitor. As a result, Mandrakk appears almost out of nowhere. “Submit” is a breakneck story that shows what’s going on at the street level when Darkseid takes over, and “Last Rites” clarifies what’s happening to Batman in the Evil Factoryīut Superman getting recruited for a multiversal quest to stop Mandrakk, setting up the villain who appears in the final chapter? Completely missing. The Black Lightning/Tattooed Man story from “Submit” is included, along with the framing sequence from the Batman crossover. One of the weird things is that it incorporates some of the tie-ins, but excludes the one that actually sets up Mandrakk. The acting is compelling, and I found myself more interested in several of the characters as a result: particularly Renee Montoya as the Question, who moves in and out of the story in a number of places, but we actually get to see (or hear) what she’s doing rather than have to piece it together from a panel here and a panel there. The voice acting, music and sound make up for a lot of the lost visual punch and visual structure of the story, and it needs more than just the words. But I don’t think it would work well as a book. It credits the story only to Greg Cox, with no mention of Grant Morrison or any of the artists, which is disappointing. There are a number of things that I thought had been added to the adaptation, but when I went back to read the original, they were there if you looked closely.Īnd of course having it all together avoids the problem of delays between chapters that plagued the original release, though that’s true of the collected edition too.Ī lot of that is probably the novelization it was based on. (That part is great as metatext, but there’s a lot of “wait, what just happened?” as you read it.) Scenes are fleshed out, and narrative fills in which details you need to glean from the artwork. ![]() It actually flows better than the comic book, especially toward the end, when the comic starts fragmenting the narrative. After listening to Stop Motion, I picked up the Graphic Audio adaptation of Final Crisis.
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