Over the summer I wrote about the rate of “idea generation” across decades of DC history. Essentially, I was talking about the number of new ideas (or new uses for old ideas) being produced under current superhero-comics storytelling trends. Idea generation and world-building go hand in hand, such that the more ideas you can harmonize into a reasonably coherent (and accessible) shared universe, the better.
The 2006-07 weekly miniseries 52 put DC’s shared universe to good use. Written by Geoff Johns, Grant Morrison, Greg Rucka and Mark Waid, laid out by Keith Giffen, and drawn by an array of artists, 52 had a handful of C- and D-list characters guide readers through various obscure corners of the DCU. 52’s locales included a Metropolis without Superman, Black Adam’s Khandaq, an island of mad scientists, and the farthest reaches of outer space. 52 also featured its share of new characters, like the Chinese super-team called The Great Ten, the intergalactic despot Lady Styx and the dark religion of the Crime Bible. Of course, it also debuted new versions of Batwoman, the Question, Infinity Inc. and Supernova.
Because it chronicled a year in which the Trinity of Batman, Superman and Wonder Woman each disappeared from public view, and because it had that year all to itself (thanks to the other titles’ concurrent “One Year Later” time-jump), 52 gave readers a unique opportunity to poke into the dusty corners of DC’s attic. Due (mostly) to the vagaries of its truncated timeline, the New 52 apparently doesn’t have such an extensive history. However, that doesn’t mean it can’t take readers on a similar journey.
Comics College is a monthly feature where we provide an introductory guide to some of the comics medium’s most important auteurs and offer our best educated suggestions on how to become familiar with their body of work.
Strap yourself in, kids, because this is going to be a big one, as we run through the lengthy and considerable career of one of mainstream comics’ biggest stars, Grant Morrison.