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DC Comics - The Rebirth is Here


#3883

What did he sell to them?
Is there an original pitch document anywhere?


#3884

This is very much how it reads to me


#3885

I don’t mean rigidly defined structure in detail, but he has a sense of where the story is going (even if the precise details of that conclusion change somewhat in the telling - like the Final Crisis example of starting with Anthro and ending with Kamandi, which didn’t turn out like that in the end). He’s not just making it up as he goes along.

For me one of Morrison’s strengths is that he usually knows how to make a story work on a mundane face-value level as well as on all the higher levels he works at. To do that, I think you need to know what story you’re telling from the off. His most polarising stories tend to be the ones that move away from that, and let the improvisational elements run wild and let the subtext overtake things. Which again brings us to Final Crisis. :slight_smile:

(To be clear, I love Final Crisis, but I understand why some don’t.)


#3886

Not that I’m aware of, publicly.


#3887

I love FInal Crisis to! It’s not a criticism.

But I guess the distinction for me is just, you know, theme. It all clusters around a theme. He knows the theme of the book – which isn’t necessarily what he’s trying to say but what he’s trying to explore.

Batman, for instance, the idea there was – Batman is not a loner, just the opposite, Batman is all about cooperation. His big insight (whether you agree to it or not) is that Batman was born when Bruce rang the bell – Batman needs other people, on a fundamental level. That is a pretty revolutionary take I think. I also think it took a while for him to get there. I did not get the sense that idea was fully formed in Batman and Son, which was the worst arc for me.

At a certain point the book became about something else, much darker and more negative about comics in general, I think, but for at least the Black Hand through Batman and Robin and Return of Bruce Wayne it was about that. Batman Inc was kind of expanding that idea and slowly became sort of took that idea to its more pessimistic conclusion (just as Batman and Robin took the RIP drama and turned it into farce)


#3888

Oh, I totally agree with that. The idea of improvisation around a core theme is exactly what he was getting at when talking about his writing in jazz terms. But part of his point was also that (like a Jazz musician) that free improvisation is itself contained within a structure that gives it shape - which you need for a story to function on the basic face-value level as well as on the deeper thematic levels that he wants to explore.

(I wish I could find the interview I’m thinking about now - I’ll have a look later.)

I find Morrison’s writing fascinating because it has all these layers and works on so many different levels. Final Crisis especially so because it seems to be specifically addressing company superhero comics at lots of different stages - the in-universe story, the reader experience, the creative element, the editorial control, and the corporate imperatives that underpin it all. I get something new out of it every time I read it.


#3889

Yeah, and I think it’s nice because you can appreciate it on a few levels. I’m a little bit tired of the meta stuff from him, editorial politics and the like, so my last reread I focused on the kind of platonic character arcs he did for all the heroes and found myself enjoying that more – they’re all doing the thing they’re best known for, super condensed…Wonder Woman gets ‘bound’, Hal gets depowered and faces impossible odds as a human, Superman has to save Lois, Flash has to outrun (death), etc.

Great, condensed writing that is better upon re-reads. But that fluidity does not lend itself well to the crossover, I think, and its why the tie ins feel completely superfluous. They were playing off a story that never got written.


#3890

Yes, he’s good at finding the essence of these characters, that kernel to focus on as a core theme.

I’m genuinely interested to see what he does with Green Lantern in that respect.


#3891

Damn it, Bendis!


#3892

I hope Bendy writes him as the complete idiot he was in the movie. There’s something to be said for a totally stupid muscle-bound baddie.


#3893

I quite like the attitude. Bendis is a nerd like us, he knows that film is poor and nobody likes the character but he’s daring to try and make it work.


#3894

From the headline I’m assuming Bendis is making Zack Snyder a character in the comics? Weird.


#3895

#3896

To be fair, he’s also the writer that gave us Geoff and thought he’d be huge.


#3897

I don’t recall Geoff, I remember (Bob) Geldof and that was quite a flop. :smile:


#3898

Geoff Johns has actually been written by Bendis all this time? That explains a lot.


#3899

Geldof is what I was thinking off. Not sure how I got that mixed up with Geoff.


#3900

They should have more villains name like that. Never mind Nuclear Man, here comes Eric!

This issue! See the Justice League face the insurmountable threat of Frank and Derek!


#3901

Well there is Bob.


#3902

Make it Derek and Clive and I’m there.