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Although Grant Morrison is drawing down the curtain on Batman Incorporated with July’s Issue 13, DC Comics will give the series a final hoorah in August with a special one-shot anthology.
Ahead of the release of August’s solicitations, the publisher has announced Batman Incorporated Special #1, featuring stories about Man-of-Bats, Red Raven, Jiro, Knight, El Gaucho and other characters by the likes of Chris Burnham, Ethan Van Sciver, Dan DiDio and Joe Keatinge.
Hello and welcome to What Are You Reading?, our weekly look at all the comics and other stuff we’ve been checking out lately. Today our special guest is Chris Sims, senior writer for ComicsAlliance, blogger at Chris’s Invincible Super Blog and writer of comics like Dracula the Unconquered and Awesome Hospital.
To see what Chris and the Robot 6 crew have been reading, click below.
Don’t ask why — because the answer is too boring and has nothing to do with Steven Spielberg — but the other day I was thinking about the original 13 American colonies, and from there the general course of American history across the 18th and 19th centuries. Naturally, from there I imagined how DC Comics would solicit the story of a young nation. It ended up being something like a team book: Meet the states that will form a great democracy — and discover the shocking secret which threatens to tear them apart–!
And then, as fate would have it, DC released its July solicitations, and my stab at patriotic humor was somewhat justified. So there you go.
In any event, on to “Trinity War” –!
WORLD WAR T
Say, remember when “World War III” was an actual part of DC history? I’m not talking about the Great Disaster, or something that happened in the hazy interregnum between the present and the Legion of Super-Heroes, or even the final Grant Morrison/Howard Porter JLA arc. No, as part of 52 (2006-07), “World War III” was the name given to a week-long global Black Adam rampage. I bring it up because it’s no longer in continuity, and we still don’t know (beyond another “Villain Month”) what’s coming in September for the New 52′s second anniversary.
Rather than continue Batman Incorporated following Grant Morrison’s announced departure, DC Comics will end the series with July’s Issue 13.
The news, revealed in IGN.com’s preview of the Batman solicitations, comes as little surprise, as the title was a vehicle for Morrison and artist Chris Burnham to tell the story of Bruce Wayne’s global team of heroes the writer began in 2010. The first arc volume ended in December 2011, following DC’s New 52 relaunch, with the second volume debuting in May 2012.
With his 19-issue Action Comics saga, Grant Morrison has almost literally written a Superman story for all time. “For every time” might be more accurate, because it plays with chronology like a kid jumbling up a Rubik’s Cube. Morrison begins with tales of Superman’s earliest days, then jumps into the New 52′s present for a couple of issues (bringing in the 31st century’s Legion of Super-Heroes) before wrapping up the first arc and proceeding on to “now.” The result is a macro-level adventure that draws liberally from every era of Superman, blends those disparate elements into a fine pureé, and repositions the mix as a self-reflective epic. This is the Superman legend as alpha and omega, beginning and end, reinvention and restoration, and it’s a heck of a thing.
It’s also a pretty daunting read. I spent about three hours Tuesday night with issues 1 through 17 (and Issue 0, of course) and still didn’t catch every nuance and reference. However, the overall impression is a familiar one: Superman’s real power comes more from the idea of “Superman” than from the effects of yellow-sun rays. On its own this is rather hokey, or at least dismissable as such, and a reader casually flipping through Action Vol. 2 #18 might wonder what all the fuss was about. To be fair, a more dedicated reader might wonder that as well; but I think it’s a lot less likely.
SPOILERS FOLLOW for Action Comics #18 and its predecessors:
Awards | A last-minute reminder: Today is the deadline for Eisner Awards submissions. [Eisner Awards]
Creators | Grant Morrison looks back on his run on Action Comics, which ends today with the release of Issue 18, and touches upon Multiversity and his long-discussed Wonder Woman project: “This is some of the most fun I’ve had in a long time, because it’s a completely different type of comic book. Usually I don’t do masses of research, but for Wonder Woman, I’ve actually been working my way through the entire history of feminism. I want this to be fucking serious, you know? I want this to be really, really good, to reflect not only what women think, but what men think of women. I’m trying to do something really different from what’s been done with the character before. That one’s been amazing fun, because it’s nothing like anything I’ve ever done before.” [Entertainment Weekly]
“Everyone’s trying really hard to do the three-act structure, and write like movies, and do it by the book. You know what you can do in comics? You can do anything. So what I did was to have the impossible happen. There’s a bit in [Action Comics #18] when Superman comes to the audience and says: ‘If we do the impossible, the devil disappears.’ And you go: What? How? Why? I put it in there because nowhere else — you couldn’t get away with it in TV, you couldn’t get away with it in movies. I wanted to show that comics can actually do the impossible. Here’s a comic that would never get by a committee. This is true weirdness. I’m hoping it will be an actual experience for people. I want it to be almost psychedelic on that level. People should go check it out, because it’s Psychedelic Superman.”
Hello and welcome to What Are You Reading?, our weekly look at all the comics and other stuff we’ve been reading lately. Our special guests today are Brendan Tobin and Pedro Delgado, who run the March MODOK Madness site. And with this being March, the madness is in full swing, so head over there to check out a lot of fun art featuring everyone’s favorite big-headed villain.
To see what Brendan, Pedro and the Robot 6 crew have been reading, click below.
Today, ROBOT 6 introduces its new weekly feature “By the Numbers,” which takes a look back at the events of the past five days … in numbers. The biggest, or at least most-discussed, story of the week was undoubtedly Grant Morrison’s decision to kill off Damian Wayne in Batman Incorporated #8, a little something to remember the writer by as he wraps up his six-year run on the Dark Knight.
That development, naturally, stirred memories of 1988, when DC Comics bumped off a far less-popular Robin in an even more controversial manner: by having the readers decide whether Jason Todd lived or died … by calling a 1-900 phone number. The Joker may have wielded the crowbar, but Batman fans handed down the death sentence.
First I’d like to thank DC Comics for plastering its latest spoiler unavoidably across the Internet bright and early Monday morning. It did confirm something I’d suspected since before Christmas, but being surprised still has a certain appeal, you know?
(That assumes this isn’t reversed in an issue or two. Kyle Rayner was killed one issue and revived the next during a Blackest Night crossover, and something similar is eminently possible, albeit unlikely, in this case.)
Anyway, Caleb has done a great job covering the event’s immediate impact, and Corey and Michael have also talked about significant aspects of you-know-what, so for my part I’ll be taking a closer look at the “position” itself. Some people study the presidency, some the papacy, and some of us have spent most of our lives reading about … well, you know.
SPOILERS FOLLOW, I suppose.
In the swelling tide preceding Batman Incorporated #8, the promised death of the current Robin and the impending finale of Grant Morrison’s six-year opus, something jumped out at me about the writer’s previous work for hire: He has a propensity to kill the characters he introduces into the universes of Marvel and DC Comics before he leaves.
Think back to his first major mainstream superhero book, JLA. In it, Morrison and Howard Porter revived the team in a back-to-basics approach featuring the seven most popular and iconic members. But during that time Morrison also created (with Mark Millar and N. Steven Harris) the Mesoamerican hero Aztek. Launched in his own series — whose first issue teased his impending death — Aztek later joined Morrison’s JLA and was killed in JLA #41, the writer’s final issue.
Here we go again. A major news outlet has enthusiastically run the exclusive story that a major comic book character dies in a comic released today. Superhero deaths and their inevitable resurrections have been a staple of comics for decades thanks to the sales bump they tend to get from press coverage. But the giddy acceptance of superhero deaths is starting to crack.
Since the heady days of “The Death of Superman,” mainstream news has loved a dying superhero icon. In 1992, Superman’s death was such a big deal, newspapers were writing hand-wringing editorials about what it could mean for the state of America. Right from the start, DC Comics only guaranteed he would be dead until March 1993, but somehow that got lost in the din of cultural symbolism and frenzied collectability. People really thought he was dead, even if they sensed it was financially the stupidest thing DC could do. Needless to say, Superman came back. And ever since, it seems Marvel and DC have been chasing that same media buzz by (temporarily) killing off their marquee characters, whether it be Batman, Captain America, Spider-Man or even the Human Torch. But with each passing media blitz, an interesting thing is happening: Mainstream outlets are beginning to become just as jaded about superhero deaths as we longtime readers are.
Warning: Spoilers for Batman Inc. #8, The Dark Knight Rises, and Ridley Scott’s Prometheus follow.
Grant Morrison’s reflection on his Batman run is interesting, in that it offers insight into what the writer thinks makes the character tick, but the part that jumps out at me was the very end where he brings up Robin and asks, “What son could ever hope to replace a father like Batman, who never dies?”
It’s something I’ve been thinking about since seeing Ridley Scott’s Prometheus. As flawed as that film is, it has some intriguing ideas about the relationship between creator and creation, whether that’s alien and human, inventor and android, or parent and child. On that last dynamic, Charlize Theron’s character Vickers observes, “A king has his reign, and then he dies. It’s inevitable.” That’s a horrible thing to say about your father. It is, however, true.
Hey, have you somehow managed to avoid hearing about the thing that’s going to happen in that one comic book Wednesday? The thing the writer and publisher are so excited about that they’ve been hyping it up in various media?
If so, then you must be the sort of comics fan who doesn’t like to have story points spoiled for you in advance, so out of respect for you, and respect for the diligence you’ve shown in so far being able to avoid having the story — whatever it is, in whatever book it’s unfolding — spoiled for you, I’m going to bury this entire post below the break.
So, if you already know what I’m talking about, read on!
“I chose to build my story around the basic trauma, the murder of his parents, that lies at the heart of Batman’s genesis. It seemed to me there would be a part of Bruce Wayne that resented his parents for leaving him and especially resented his father for not being Batman that night, so the principal villains were an archetypal bad father figure in the form of Dr. Hurt and a dark mother in the form of Talia, our villain for the concluding chapters of the story. This master theme of damaged and ruined families was nowhere more in evidence than in the creation of Damian, the first ‘Son of Batman’ to be acknowledged in the canon. In many ways this has been Damian’s story as much as it has been the story of Bruce Wayne and it’s a story that had its end planned a long time ago – for what son could ever hope to replace a father like Batman, who never dies?
– Grant Morrison, in an essay on the DC Comics website, addressing his more than six-year stint
writing the Caped Crusader, from Batman to Batman and Robin to Batman Incorporated