Tag Archives: Grant Morrison

G3 Review: Action Comics #5

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Action Comics #5
Written by Grant Morrison
Art by Andy Kubert, Jesse Delperdang, Brad Anderson, and Patrick Brosseau

It’s the “New 52,” and the new Action Comics, and inevitably we revisit fall of Krypton. But how many ways can Krypton be annihilated? In Grant Morrison’s take on Supes’ origin, he makes subtle tweaks to how it all went down in the House of El. With minor adjustments to previous continuity, Morrison paves the road for a plethora of possibilities for future stories. We press pause on the events of issue #4 and focus on baby Kal-El making it to a planet with a yellow sun and less gravity, so he will be super. Superman’s chunky, little baby self is escorted in a rocket powered by an artificial intelligence Jor-El calls Brainiac. It is Brainiac who narrates this issue, entitled, “Rocket Song.” Continue reading →

A Window To Another Universe

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“The comics medium is a very specialized area of the Arts; home to many rare and talented blooms and flowering imaginations and it breaks my heart to see so many of our best and brightest bowing down to the same market pressures which drive lowest common-denominator blockbuster movies and television cop shows. Let’s see if we can call time on this trend by demanding and creating big, wild comics which stretch our imaginations. Let’s make living, breathing, sprawling adventures filled with mind-blowing images of things unseen on Earth. Let’s make artifacts that are not faux-games or movies but something other, something so rare and strange it might as well be a window into another universe because that’s what it is.”  - Grant Morrison, 2004

Friday Favorite: Damian

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Small, mighty, and mouthy. Art by Minuiko.

No, I’m not kidding.

It’s no secret that I’m a Robin(s) fan, but perhaps even more than Jason Todd, Damian Wayne is controversial among the Bat-faithful. There’s no middle ground with him, and the readers who loathe him really loathe him. I understand that because, let’s be honest; Damian is — to borrow a word from our British friends — a little sod. Continue reading →

All-Star Appreciation

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Many, many others have written about the genius of the original All-Star Superman, so the series doesn’t need my late stamp of approval. But while I fully expected to enjoy the story, I didn’t anticipate just how much more I would appreciate Superman as a character after finishing them.

I recently purchased the trades in a mad rush to catch up before watching the direct-to-DVD film that was released last week. Several times, I’d flipped through the All-Star Superman collection in a bookstore, shrugged and put it back. Again, I assumed that it was good, but I was convinced there were no more truly interesting stories about the Man of Steel. Even the gushing cover blurbs couldn’t win me over.

My bad. Continue reading →

WTF? Wednesday: Neigh, I Say!

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Like the song says: Don't ride the white horse.

DC fans like to joke about how Grant Morrison’s mind-bending stories often seem influenced by, shall we say, exotic substances. But Morrison’s got nothing on the Silver Age scribes who were responsible for some of the nuttiest comic book stories ever printed. One of the best examples? Comet the freakin’ Super-Horse. Continue reading →

Bruce … Is It Really You?

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Bruce Wayne as Batman by David Finch

Bruce Wayne as Batman is by far the most iconic figure in the DCU, and certainly a mega fan-favorite. I have to admit that I am not a fan of Batman. Part of the reason is that so many marketing resources are spent on him, and him alone, when there are many other characters deserving of some attention. Also, he pissed me off when he judged Diana for killing Max Lord. For someone who wasn’t really feeling you in the first place, then you get all high and mighty on a one-time goddess? Bitch, please.

Fast forward to Final Crisis. I love Final Crisis. I know it got all smooshed and convoluted at the end, but the layers and implications of that story were fascinating to me. We all now know what happened there, and have lived an entire year without Bruce Wayne. True, I’ve had The Return of Bruce Wayne to chew on for the past six months, but it gave me sort of an odd feeling. It was Bruce, but it was him through time; Bruce doing the genius shit that he does, but not quite the same as him being in the present DCU.

Ultimately, I think the stories told in Bruce Wayne’s “absence” have been iconic in their own right, and consisted of some really high caliber writing. There is something magical about Morrison’s Batman and Robin that has sated the appetite for Bruce. Damian has been a shit ton of fun, and one of the more interesting characters of 2010. Dick makes a good Batman. It works, it is believable, and Dick deserved the upgrade. Seriously though, Dick is no Bruce.

In case you hadn’t noticed, I’ve got it bad for Morrison’s writing in general. Truthfully, I have only been reading these stories because Morrison is writing them, and because I am sniffing at continuity from Seven Soldiers and Final Crisis. They just happen to be about Batman.

Now … the Batman is back. I was monumentally surprised at just how moving Batman: The Return was. His presence is undeniable, and it feels surreal. My heart actually leapt with joy reading Bruce as Batman.

Er, really? WTH? I don’t even like Batman, but I missed Bruce?

Somewhere along the way, I started to feel a vacancy because of Bruce’s absence. Batman: The Return exemplified all the reasons why. The book was absolutely ideal. It was so authentically Bruce Wayne, and it rocked my socks off.

First of all, I was super-delighted by Morrison’s partial script included with the issue. There was jizz. In my pants.

DC could not have chosen a more perfect artist on the book. David Finch’s pencils created a profound and moving experience. It was dark and ominous, but beautiful and powerful. In a celebratory conversation about the issue, a fellow comic lover said it best: Finch’s art conveyed the gravity of Bruce’s return flawlessly.

There were also some perfect character moments. The giant voice-activated air bag to break his fall from a building, Bruce’s mention of Talia’s probable dismay at Damian’s current lot, the mission he and Damian went on and their banter, the access he gives Oracle to “Internet 3.0,” and the avatar ode to her as Batgirl. Squee.

By far, the book’s most poignant panel is Bruce and Alfred walking side by side up the stairs in the Batcave. It includes what may very well be one of the greatest lines in DC Comics history: “We soldier on undaunted, you and I, master Bruce. And if I may say so, sir … I couldn’t beg, borrow or steal a finer way to live my life.”

The void that existed in the DCU existed in me too, and it was filled by Batman: The Return.

Five Reasons You Should Be Reading Batman and Robin

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Hands down, Batman and Robin #14 is one of the best comics I’ve read this year. This book hasn’t been without its flaws (the Red Hood storyline comes to mind), but on the whole, Grant Morrison is writing one of the most consistently interesting comics on the DC shelf at present. I’m in a proselytizing mood, so if you’re not already reading Batman and Robin, here are five reasons you should be.

Li'l Wayne is a handful.

1. Damian Wayne: He’s arrogant, polarizing and often unlikable, but he’s never dull. Over the run of this comic, Morrison has shown us hints of Damian’s vulnerability through confrontations with his mother, Talia al-Ghul, and his growing attachment to the Robin role. In less capable hands, Damian would be simply a violent brat. Morrison has shaped him into a complex, unpredictable and even sympathetic would-be hero.

Cameron Stewart's Batman and Robin #7 cover

2. The artists: Batman and Robin has benefitted from the work of some top-notch artists, including Frank Quitely, Andy Clarke and Cameron Stewart. A great deal of issue #14’s impact is attributable to Frazer Irving’s dreamy, fluid illustrations, which are fitting for Morrison’s almost hallucinogenic storyline. The level of detail, including a two-panel sequence of Dick Grayson’s Batman demonstrating his acrobatic fighting style, is crazy. It isn’t just a generic combat scene, but a thoughtfully crafted one that demonstrates Irving’s understanding of a specific character.

3. Morrison: What I appreciate about Morrison, even when I don’t quite get it, is that he’s making an effort to do something beyond the usual. I like an old-fashioned, straightforward story as much as the next fangirl, but it seems to me that Morrison writes comic books for people who read things other than comics. He brings an indie spirit to mainstream characters — a certain fearlessness and a much-needed element of surprise. And since comics are a legitimate form of literature, what’s wrong with having to work for it every now and then? I’m not saying that Morrison’s writing always clicks for me, but I like the fact that he’s essentially telling the reader, “You’re smart enough to figure this out, so I’m not going to insult your intelligence.”

Professor Pyg makes it rain!

4. The Oh, Snap! Factor: As in, “Did Damian just smash the Joker’s face with a crowbar?” and “Is Professor Pyg dropping it like it’s hot?” and “What in Gotham’s name just climbed out of the Lazarus Pit?” If you’re not reading Batman and Robin, you’re missing some of the most jaw-dropping moments in comics right now.

5. The Freak Show: One criticism of this book has bugged me, namely, the opinion that Batman and Robin is too grim. This is certainly a dark book, but isn’t Gotham the ultimate scary city? In order to justify the existence of a hero like Batman, you need some serious villainy, and there is plenty of it here. As I pointed out in my Newsarama review of issue #14, Pyg is one of the most twisted characters I’ve ever seen in a comic, anywhere. Upon seeing the good professor in an … unusual situation, one character says, “This whole thing stinks of some low rent torture porno.” When you’re dealing with Black Hand, the Joker and Pyg in one place, well, yeah. But it also heightens the drama without seeming gratuitous (See: Batman, the G-ddamn).

A book with a strong point of view is sure to elicit strong opinions, and Batman and Robin is bound to grate some readers. But it sure won’t bore them.

This Week in Comics FTW

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Maybe I had low expectations, but I was surprised by just how good my comics were this week. Everything I pulled was a page-turner with top-notch art.

Green Lantern Corps #49
 Writer: Tony Bedard
Pencils: Ardian Syaf
Inks: Vicente Cifuentes
Colors: Randy Mayor w/ Gabe Eltaeb

My love of the Green Lantern books began with the Sinestro Corps War, a great story arc that got me invested in the characters. I was ever so curious to see where the War of Light would lead, and, well, here we are at Brightest Day (aka the Über Meh). I dropped BD from my pull list, and with the writer Peter Tomasi’s departure, I was going to drop GLC, too. This issue has officially changed my mind. Kudos to Ardian Syaf, who is really getting better with his pencils. His powerful facial details impressed me (although thumbs down on Natu’s Wolverine-inspired hairdo). The story was fast-paced with a tinge of suspense. You knew that the Alpha Lanterns were up to some craziness after last issue, but Boodika resorting to maniplulation and trickery … that was unexpected. Now I’m dying to know how they came under the control of Cyborg Superman. I guess it’s a robot thing.

The Return of Bruce Wayne #3
 Writer: Grant Morrison
Pencils: Yanick Paquette
Inks: Michel Lacombe
Colors: Nathan Fairbairn

I’ve come to really enjoy Grant Morrison’s writing. Perhaps it’s my background in philosophy, but I like meta-stories and annotations. I don’t mind working for it with Grant’s stories, because the payoff is often worth it (wildly convoluted, but interesting). After issue #2, I thought I might have to “work for it” yet again. But in comes #3, blazing with clarity and lovely little continuity nuggets tying GM’s obscure references together. I have an idea of where this story is going, and while that could very well change in an instant, I am excited. Grant is a reference junkie; it’s how he rolls. Being that I am one of the two people who LIKED Final Crisis, that makes the references in RoBW even better. Yanick Paquette’s art was a pleasure, especially the background details and his pouty-lipped rendering of Wondy.

Zatanna #2
 Writer: Paul Dini
Pencils: Stephane Roux
Inks: Karl Story, Stephane Roux
Colors: John Kalisz

I saved the best for last. I LOVED this issue. Dini’s Zatanna is so damn likeable. As ridiculous as this may sound — she is a magician and all — I could relate to her! After a huge performance, going head-to-head with a mega-sorcerer, and teleporting in to help the JLA, Z. was pooped. The scene of her plopping face-first into bed was perfect! PERFECT! It humanized her, and I found it to be endearing. The most impressive (and powerful) thing about Zatanna though, is her ability to think fast. You’d have to have a quick mind to rattle off words backwards under pressure. It’s harder than you think folks; I’ve tried it. Another highlight of this story is Brother Night. He is creepy10, horror-movie scary. But the shining stars of issue #2 are the flawlessly executed, beautifully drawn splash pages of Zatanna’s dreams/nightmares. If you aren’t reading this comic, what the hell are you waiting for?

Comic Judgment: Highs and Lows

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The Return of Bruce Wayne #2 (of 6)
Writer: Grant Morrison
Artist: Frazier Irving
Covers: Andy Kubert and Frazier Irving

Is there any reason DC can’t reboot the Dark Knight as a swashbuckling time-traveler with a case of amnesia? In this second installment of Grant Morrison’s series, Bruce Wayne is edgier, sexier and more mysterious in a 17th Century Puritan getup than in his modern-day cowl. The caveman-themed first issue was fine, but all of Morrison’s Weird Epic flourishes are finally in full effect here. Casting Bruce as a detective in witch trials-era Gotham City is a brilliant move, and from the very first panel, Frazier Irving’s gorgeous art gives the whole thing an appropriately cinematic feel. (Spoilers ahead.)

Known to the pre-colonial Gotham dwellers as Brother Mordecai, Bruce rankles the local witch-hunters by using logic to solve crimes instead of superstition. After a widow blames her husband’s demise on the devil, Bruce quickly concludes that the woman dispatched her spouse with a iron soup ladle. He also later blasts the locals for labeling the woman a witch, and using that as an excuse for water torture. It’s a powerful sequence, one that ends with Bruce going off on his chief critic, Brother Malleus: “I save my fire for foes who’ve earned it. Not widow-women who were most likely beaten by their good Christian husbands until they could bear no more.”

This does not go over well. It doesn’t help that Bruce is involved with Annie, a ferret-loving free spirit who is suspected of practicing witchcraft. Meanwhile, Superman, Booster Gold (feat. Skeets), Green Lantern and Rip Hunter are trying to follow Bruce’s trail through time. I’m not going to pretend that I understand anything that happens in this part of the comic, which involves an encounter with a 64th-Century “biorganic archivist” with a heck of a secret identity. He’s all “anti-entropy aegis” this and “cosmic loom” that. Whatever. I love the way Irving illustrates the four heroes, particularly his vaguely emo take on Superman. Thumbs way up, gentlemen.

Justice League: The Rise of Arsenal #3
Writer: J.T. Krul
Pencils: Geraldo Borges, Kevin Sharpe and Sergio Arino
Inks: Mario Alquiza and John Dell
Cover: Greg Horn

So much for the "rise" of Arsenal!

How do you know a book is bad? When your LCS owner — the dude who makes a living selling people comics — says, “After you read this, go ahead and send me an e-mail and tell me you’re canceling it.”

Three issues in, The Rise of Arsenal has gone from being bad in a somewhat amusing way to bad in an “I’m pissed that I spent $3.99 on this shit” way. It has taken a potentially poignant story — hero loses a child, a limb and his purpose — and turned it into a series of mind-numbing cliches. First, we see Red Arrow and Cheshire working through their anger over their daughter’s death by body-slamming each other. Despite being armed with only a stapler(!) and an extension cord, Roy manages to best his former squeeze, who is only a freaking trained assassin. No sooner than you can say, “Surely, this won’t lead to grief sex,” they’re up against a wall. Yes, for real. Only Roy can’t perform because he’s, you know, grieving.

Our hero ends up in rehab after a reunion with heroin, but I defy you to care after the onslaught of nonsense and unappealing art. Greg Horn’s cover sure is nice, but that’s all I’ve got.

Roy, I think we’re done here.