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Monday, 17 October 2011


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Rich Puchalsky

" I don't disapprove of Morrison's grand scheme so much as I think its philosophical underpinnings are as sound and stable as those of anyone else who drops too much acid and claims communion with unseen entities of vast esoteric power. "

Aaaaaand you're a big PKD fan? Is it that PKD was always skeptical about his communion while Morrison seems to take it seriously?


Is it that PKD was always skeptical about his communion while Morrison seems to take it seriously?

It's not that Morrison takes it seriously, it's how seriously he takes it. The irony being, of course, that I still admire Moore, who also takes his magic very, very seriously. I think the difference is that Morrison's cosmology seems thin and under-thought: he feels, for example, to define the term "metafiction" in Supergods in the way that an undergraduate, flush with an encounter with a new idea, would. There's no depth to the contemplation, just random encounters with drugs, aliens, magic, and the comic metaverse.

Rich Puchalsky

I can understand that a lot better than "I don't 'get' Grant Morrison", which was always too vague for me. Yes, his work often seems to be underthought. _Animal Man_, I remember, had a long-running plot about Animal Man becoming involved in the animal rights movement, until the issue where he turns away from them, idealism betrayed, angry that they want to use him as a soldier. And that was it. It was like something that could have been written by an 18 year old. _Doom Patrol_ was great, but it had trouble actually going anywhere. As you can tell by these examples, there are whole decades of Morrison I've skipped.

I do think that this quality is the reason why he's made it so (comparatively) big out of the Brit Invasion writers in the classic superhero comics world. I did read _Seven Soldiers_, and was astounded by how Morrison in the intro page seemingly unironically writes about turning the characters into salable properties, ready for their own individual series. It's not that he's selling out. It's just like he hasn't really thought about it.

Adam Kaiserman

This is a nice reading, Scott. I don't know how you can put all of this so well and still say you have no love for Morrison. I won't say that all of Morrison's work is gold; as a writer he can have some serious faults. But I think All Star Superman, with the exception of the Bizarro issues, is just sublime.

bianca steele

I see Rich beat me to the quote, but can I steal that?

Martin Wisse

"It's not that he's selling out. It's just like he hasn't really thought about it."

Rather, that he isn't bothered by selling out or considers it particularly shameful to be commercially minded in some of his more "mainstream" projects.

Regarding Animal Man and Doom Patrol, you shouldn't really look at these as longform works, as both were written at a time when the monthly floppy was king and clearly written from month to month. There never was an overall arch for either of them and especially Animal Man is Morrison mucking about doing things that interested him that month; attempt to read it as a coherent story in trade paperback and you'll be disappointed, but it works as a monthly comic.

Re the original post: too much talk about Morrison doing this or meaning that with the panel placement while almost entirely ignoring Frank Quitely's input. Even if Morrison dictates the layout of a given page, the artist's intepretation is key to how it'll end up looking.

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