Read Comics

Comics read since last time:
JLA #55-69

Most of the comics I read come from the library, which really is an incredible resource for trades and even single issues.  I champion the library whenever I get the chance, showing people proudly that the trade paperback I’m reading came from one.  “Libraries carry comic books?” they say, incredulously.  “Why, yes!” I reply, telling them that I usually have fifteen or twenty checked out at any given time.  Sometimes, however, that comes back to bite me on the ass, like when I have to plow through three JLA trades in two nights because they’re coming due in the next couple of days, and I’m unable to renew them, because someone else has one of them on reserve.  I grit my teeth, though, and look at the bright side: people are looking for comics at the library, and requesting them.  So while I usually like to read several different series, usually from different companies, sometimes I get quite a long stretch of a single title all at once.

This run of JLA finished out Mark Waid’s time with the team, followed by an issues by Chuck Dixon and Scott Beatty, and now I’m well into Joe Kelly’s run.  Grant Morrison is definitely a tough act to follow.  Waid is decent, following up on Batman’s betrayal, with a storyline developed from a single line of dialogue, with half the league split from their own alter egos, playing off of what seems to be a throwaway line of dialogue.  And another line of dialogue in this storyline becomes the basis for the next one, the return of the white martians.  Waid’s entire run is very tight, practically interwoven together.  Dixon and Beatty’s issue is part of the Joker’s Last Laugh crossover.  I picked up that trade recently from the library, expecting a standalone Joker story, not realizing that it crossed into practically every title in the DCU.  Interestingly, the asterisks had been left in letting me know where I could find some of the other stories that crossed into Last Laugh.  Something which the JLA trades, and indeed most comic trades don’t seem to do.  I’ve always thought this a little weird, as it would be a great promotional tool to get people to buy other trades.  Is it that they figure people will be frustrated at not having the referenced comics immediately at their disposal?  These are comics!  For years, the asterisk was the starting point of a treasure hunt which had us wading through longboxes at comic shops and conventions, and staring longingly at backissues protected by mylar pinned up on the shop walls.  The lack of notes is particularly annoying during Kelly’s run, which ran during DC’s Our World at War crossover.  Events are mentioned about Wonder Woman not being a princess any more, Aquaman vanishing, and for some reason, the artist draws Superman’s emblem as red on black, rather than red on yellow.  But there are no notes telling you where you could read more about what happened.  Again, I feel a little hypocritical complaining about this, especially when I have all of the internet at my disposal to do research, but would it hurt to have an asterisk or some sort of annotation going on?  If you’ve never read it, the Annotated Crisis on Infinite Earths is a joy.  Such scholarship went into that, noting just about every character in every one of George Perez’s drawings.  Kudos to that effort, as well as the online annotations for just about everything Grant Morrison has ever written.

All of that said, I’m mostly enjoying Kelly’s run.  He brings up some interesting themes, such as Wonder Woman’s dependence on her lasso as a source of truth, and what happens when she vehemently disagrees with that truth.  I’m in the middle of The Obsidian Age arc, featuring the Justice League of 3000 years ago.  Here, he’s turning the moral table on the JLA, it appears, making them face what role they have in a completely foreign morality.  It seems a lot like a prelude to Justice League Elite, which he wrote a few years later, again drawn by Doug Mahnke, the artist on these JLA issues.  I wasn’t a big fan of Mahnke in JLE, and I’m still a little disturbed by his proportions and style here.  He does a good job at making people look unhealthy, and he seems a little obsessed with bugs and veins.  From the notes section of The Obsisdian Age, I discovered that Mahnke is from Minnesota.  I wonder if I’ve seen him at any of the conventions around here.

I’ve finally caught up on the main Final Crisis books, which shouldn’t have been hard since there are only three out right now, as well as Batman R.I.P., which is still in progress as well. Ah, Grant Morrison. You kooky, wacky Grant Morrison. I love reading you, I really do. But man, I still think you’re leaving out some of the words. Maybe some of the word balloons. Perhaps even some panels or even pages. Grant, when you read the comic, are there extra panels in your mind that we don’t see? Do you write a page, keep a page in your head, and then write another page? I mean, I understand what’s going on–for the most part–but it just seems like the story jumps a few times. Jumps like Batman jumping from rooftop to rooftop. And sometimes those jumps are really long jumps, which Batman is able to clear a lot better than I am.

Grant Morrison gets spoken about on a lot of podcasts, he gets a lot of press, and feelings about him run pretty strong. There are videos of him, including one of him speaking at Disinfocon, available to view on YouTube. I think the man is a great writer, but I have to be honest. Sometimes I’m unsure about his “storytelling” ability. I also think there’s a bit of “The Emperor’s New Clothes” going on with him. I really do think that there are a lot of people who have a difficult time following Morrison’s writing, but are afraid of admitting it for fear that they’ll be considered dumb, or at the very least, not discerning readers. And some of his stuff is easier to follow than other things. His run on X-Men seemed a bit more straight forward. I haven’t read his Animal Man or Doom Patrol in years, but I know he got a bit out there in those titles.

For Final Crisis and Batman RIP, we now live in the age of the Internet, and fortunately we have resources. Douglas Wolk and Gary Greenwood, who both have sites up annotating Final Crisis, and Timothy Callahan, who is annotating Batman RIP, do a lot of the legwork for us. All three sites go page by page and panel by panel, noting who characters are, what their historical significance is, what their relevance is to the current plotline. Readers guides for these somewhat convoluted stories, if you will. These guys have all gone above and beyond, helping us, the gentle reader, keep from pulling our hair out trying to keep track of everything, especially through delays in releases. Maybe that’s Grant’s diabolical plan–to induce baldness among comics readers around the world, and thus make his audience over in his own image. One of these days, someone is going to collect all of these annotations together into a comprehensive tome: The Annotated Grant Morrison. It’ll be a bestseller.

I guess Wizard World wasn’t as good for ReadComics.org posting as I’d imagined. I did read a ton of comics in the last three days, including The Filth, written by Grant Morrison, which I finished yesterday in the car ride home.

The Filth is as interesting as it is incomprehensible. I’d probably have to read this again to fully understand it. I was left wondering, at the end, whether a second read would clue me in to what had actually happened. Did 9th gear take you into another dimension, or just shrink you to the level of germs? Was “the Hand” actually Slade’s hand? Was any of that stuff even real? (And these are the “easy” questions.)

Perhaps the most interesting thing about the book (for me) was speculation about whether the end, in which microscopic man-made creatures (with the ability to cure cancer) take over the world, was optimistic, or pessimistic. They were set to turn everything into a land of flowers and happiness… is that a good thing?

This book felt a bit like a pornographic daydream, perhaps something I would have imagined in my teenage years. (Forcing the president to get breast implants and dance for his crack pipe? Sick and brilliant.) I probably wouldn’t recommend it unless you: a) love Grant Morrison so much that you’re wiling to invest some heavy time into reading and re-reading for full understanding, or b) you’re just in it for the journey, and not going to care that large swaths of pages seem entirely pointless by the end of the book.