Gunn Discusses Possibility of Kang Battling the Guardians of the Galaxy
WB Games will offer a special Serious Edition of the upcoming Batman: Arkham Knight video game that comes with a limited-edition 25th anniversary hardcover of Arkham Asylum: A Serious House on a Serious Earth, by Grant Morrison and Dave McKean.
Although the $70 comic bundle, which includes the video game and an in-game skin of Batman as he originally appeared in Detective Comics #27, hasn’t been officially announced, it was spotted on the Amazon.com listing. According to the ad, it will only be available for Xbox One and PlayStation 4.
Although Convergence races on, it’s not DC Comics’ only cosmically minded title. This week brought a couple more takes on everyone’s favorite bit of heavenly housekeeping, as Justice League #40 kicks off “Darkseid War” and The Multiversity #2 concludes Grant Morrison’s meta-epic. Each makes clear connections to Crisis on Infinite Earths (and thus, by extension, to DC’s pre-Crisis output), and each reflects its writer’s philosophy.
However, where one extols the virtues of infinite creative diversity, the other focuses on the cyclical nature of it all. Today we’ll see which issue uses its approach more effectively.
SPOILERS for both issues, of course …
I hope it was by design that DC Comics released both The Multiversity #2 and Justice League #40 on the same day the two-month Convergence event reached its halfway point. However, it’s difficult to identify a plan in the publisher devoting the bulk of its output for the final week of April to three unrelated stories about the Multiverse. DC released 18 comics this week, and, of those, just five had nothing to do with its Multiverse.
If you haven’t been reading any of those titles — and if you haven’t, I’m afraid you’re not going to find this review terribly engaging — here’s a quick reminder of what’s going on in those three stories about the Multiverse:
Conventions | Rob Salkowitz, author of Comic-Con and the Business of Pop Culture, gazes into his crystal ball and predicts some new wrinkles to the convention scene this year, including more sophisticated use of technology: “New innovations such as beacons and near-field communications now enable real-time integration between digital content and the event itself in real time. In English, this means attendees can get instant notifications of nearby items that fit their specific interests, which could help navigate confusing and noisy exhibit halls.” And they could be used for real-time gaming as well. [ICv2]
Winter finally caught up with the Memphis suburbs over the past couple of weeks, bringing nasty bouts with freezing rain and (currently) a little snow. Digging out from under the ice has been more tedious than anything else, but the persistent cold kept us all housebound for a little while. Of course, compared to folks in other parts of the country, we are very lucky.
Still, the mere idea of days at home with nothing else to do made me want to search the DC archives on comiXology for decent binge-reading material. Everything from the New 52 forward is available there, so the following recommendations are for older series. I’ve tried to stay away from the bigger names, and go instead for stories and series which might make the time indoors a little more tolerable. They’re also organized according to Convergence eras, so even if you’re not coping with the cold, you can still look forward to April and May.
Last month when writer Grant Morrison hyped Nameless, his newest Image Comics collaboration with artist Chris Burnham, by name-dropping concepts such as “nihilistic philosophy,” I found myself thinking “Christ on a crutch, that sounds dreadful.” Years ago I made my peace with how to appreciate Morrison. I do not dislike Morrison–I count his Animal Man and Doom Patrol runs among among my top 10 favorite comics series that I have read.
At first glance, The Multiversity: Guidebook #1 — this month’s chapter of Grant Morrison’s grand epic exploring DC Comics’ Multiverse — looks like a somewhat-skippable book, supplemental material of the sort that the publisher used to release under the title Secret Files & Origins.
Everything seems to bear that out, from the content advertised on the cover (like the already well-traveled map of the Multiverse) to the artists involved (Marcus To and Paulo Siqueira are good, but not of the same superstar status as previous Multiversity artists) to the particular Earths the cover boys come from (the Batman on the left is from Morrison’s new version of the world of The Atomic Knights; the Batman on the right is an off-model drawing of the character from an Earth introduced in Morrison’s brief Action Comics run).
Second and third glances confirm that initial assessment of this book’s importance. On flip-through, you’ll note that about half of its 70 pages are devoted to illustrated prose in an airy, space-filling format, defining each of the 52 Earths and identifying a few of the key players.
But once you start reading the thing? Well, on a purely conceptual level, as a piece of comics writing and a piece of comics writing about comics, it’s probably the most ambitious, important and fascinating chapter of The Multiversity to date. And that’s in addition to being an extremely timely reminder of how to “read” DC’s continuity-realigning storyines and just what, exactly, it is that makes DC Comics and the DC Universe so special in the first place.
The marquee installment of The Multiversity may have been last month’s Pax Americana, but I was especially excited to see what writer Grant Morrison and artist Cameron Stewart (with colorist Nathan Fairbairn) would do with the Captain Marvel Family in this week’s Thunderworld. I was not disappointed. The Marvels have long been a sort of unicorn for DC’s superhero line, personifying both its potential and its abuse, and even its history (acquired as they were after the demise of Fawcett Comics). However, many modern takes on Cap and company often elicit negative comparisons to the character’s previous treatment. These boil down to some form of “why can’t it be like the old days?” (which, after all, is a common enough DC complaint).
Conventions | With the 20th Small Press Expo kicking off Saturday in Bethesda, Maryland, The Washington Post’s Lori McCue singles out three of the show’s biggest draws: appearances by Jules Feiffer, Lynda Barry and Bob Mankoff. Meanwhile, Michael Cavna spotlights Fear, My Dear, the new release from convention guest Dean Haspiel. [The Washington Post]
Creators | As he prepared to head out to Small Press Expo, Farel Dalrymple paused for an audio interview about his newest book, The Wrenchies, which will debut at the show. [Comics Grinder]
Creators | Writer Tom Taylor teases what we can expect in his new Superior Iron Man series. [Previews World]
Retailing | Books-A-Million had a good second quarter, and CEO Terry Finley gives at least part of the credit to graphic novels: “We also saw strong growth in the graphic novel category, with continued success with titles related to AMC’s The Walking Dead series and a renewed interest in several manga series [that] drove sales increases.” And to boost that, the retail chain, which operates more than 250 stores nationwide, is planning Marvel promotions throughout September. [ICv2]
Conventions | Salt Lake Comic Con co-founder Dan Farr is trying to measure how much money attendees are spending. In terms of hotel beds, at least, the convention seems to be dwarfed by trade shows, but with people coming to Salt Lake City from 48 states for the recent spinoff event FanXperience, that may be changing. Still, even in San Diego, attendees spend only about $600 per person; if Salt Lake attendees are similarly thrifty, the convention may not be a significant player in the Salt Lake City convention scene. [The Salt Lake Tribune]
Let’s get this out of the way: The first issue of The Multiversity is one of the craziest main-line superhero comics I’ve read in a long time. It’s self-referential. It attempts to engage the reader directly. It leaps around various parallel worlds in great flurries of color, off-kilter captions, and shouty dialogue. It’s apparently also a pretty-direct sequel to Final Crisis, writer Grant Morrison’s 2008-09 big-event miniseries, which — not that it matters much — took place under a different set of cosmological rules.
A few weeks ago I wrote about the interaction between those rules and the need to reference a potentially “invalid” story. Some readers may be frustrated (not unreasonably) by such interactions, and so far The Multiversity isn’t making things easier.
Again, though, consistency across continuity reboots is beside the point. Indeed, with a giant one-eyed bat-thing intoning “WE WANT 2 MAKE YU LIKE US,” consistency itself appears to be one of The Multiversity’s main villains. Change the emphasis slightly and the plot becomes more insidious. “We want to make you like us” — i.e., happy to exist in a state of “anti-death,” an everlasting “moment of ruin.” The imagery isn’t very subtle, and commentators have already compared the Gentry’s members to DC and other big comics publishers. For that matter, Morrison and artist Cameron Stewart made the globular, monocular corporate mascot Mickey Eye the symbol for all that was wrong in the superhero world of Seaguy. (Coincidentally, that hero also had a funny-animal sidekick.)
My review could end up being in the form of a cop-out, but saying that readers get out of Multiversity what they put into it might actually be the point of the series. As a superhero comic, The Multiversity #1 is perfectly decent. Penciler Ivan Reis, inker Joe Prado, colorist Nei Ruffino and letterer Todd Klein present it in an attractive package. (The fact that Reis is the current Justice League penciler probably has its own metatextual significance, given the subject matter.) However, just as the Multiverse is a framework for various parallel realities, so The Multiversity #1 provides a framework for engaging with those realities — and that’s a little harder to quantify.
SPOILERS FOLLOW, assuming plot still matters for this sort of thing.
Comics | Writing for The Advocate, Jase Peeples takes note of the diversity of DC Comics’ extended Batman family — from Batwoman to Batwing to Barbara Gordon’s roommate Alysia Yeoh — and talks with writers Gail Simone, Grant Morrison, Marc Andreyko, Tom Taylor and Chip Kidd. “I would like to think that people can pick up books like Batman Incorporated or The Multiversity and see their own lives reflected,” Morrison says. “But I’d always caveat that with the need for us to see more diverse writers and artists, because that’s when I think the walls will really come down. As a straight [white guy from Scotland] I can only do so much, and I find even sometimes when you do this, you do get accused of tokenism or pandering. I don’t mind it. I can put up with that, but I’d rather see a genuine spread of writers and artists creating this material.” [Advocate.com]
[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]
Grant Morrison, Ivan Reis, Joe Prado and the rest of the team behind the long-awaited Multiversity miniseries deliver some great moments in the first issue, including an homage to the satellite scene in the original Crisis on Infinite Earths #1. That first issue was rich in DC universe history, as Marv Wolfman and George Perez introduced a ragtag group of heroes and villains brought together by the Monitor from various eras and Earths to battle the Anti-Monitor’s universe-destroying forces.
Morrison and Reis do something similar here, as we return to the Monitor’s satellite and are introduced to heroes like the Savage Dragon-esque Dino-Cop and the fanboy Flash analogue Red Racer; witness the return of President Calvin Ellis, the Superman of Earth-23; and are treated to cameos by original Crisis heroes like Lady Quark and Harbinger. But my favorite was seeing the return of Captain Carrot:
On the eve of the launch of The Multiversity, the nine-issue miniseries by Grant Morrison, Ivan Reis, Joe Prado, Chris Prouse, Karl Story, Ben Oliver and Frank Quitely, the information is kind of slim: You can hover your cursor over just three Earths — Earh-0, Earth-8 and Earth-23 — to get details, but DC states, “New Earths are being revealed frequently so visit often.”
In 2008-09, Grant Morrison wrote (and J.G. Jones and others drew) DC Comics’ big-event miniseries Final Crisis. While it wasn’t the last cosmic-minded crossover, in many ways it was the crest of a wave that had been building since 2004’s Identity Crisis. The fallout from Identity Crisis sparked a new “Crisis Cycle,” leading into 2005-06’s Infinite Crisis, 2006-07’s 52, 2007-08’s Countdown, and various smaller-scale tie-ins.
With Morrison at the helm, though, Final Crisis turned out to be pretty esoteric. Apparently this pleased almost no one, being a) too steeped in DC lore for the casual reader, and b) not sufficiently tied into the regular comics, and thereby not rewarding the every-Wednesday folks who’d been following all the buildup.
Nevertheless, two FC plot points had immediate effects on the superhero line that, for all intents and purposes, have carried over into the New 52: It brought back Barry Allen and “killed” Batman. I was reminded of the latter two weeks ago, when a one-panel flashback in Robin Rises: Omega indicated pretty strongly that Darkseid’s Omega Effect (coincidence?) sent the New 52’s Caped Crusader bouncing through the time stream, just like his continuity-complicated predecessor. Accordingly, like so many DC stories of yore, Final Crisis still seems to have happened, even if in a significantly altered form.
Before we get too much further, rest assured this post isn’t dedicated to figuring out how a Final Crisis-shaped peg fits into a one-panel Robin Rising hole. Instead, I want to talk about how another FC plot point is helping to alter my perceptions of continuity.