The seventh issue of Grant Morrison's Multiversity, Mastermen, chronicles the story of Earth-10 (the pre-Crisis Earth-X), a world where the Nazis conquered America and won World War II and the Endless Reich is ruled by Overman, who's built a utopia on Hitler's massacres and doesn't feel very good about that fact.
We first met this version of the character in Final Crisis: Superman Beyond, when he was one of the Supermen on the Ultima Thule who traveled with Superman, Ultraman, Earth-5's Captain Marvel and the rest of the gang to try to stop Mandrakk/Dax Novu from destroying the multiverse, and all of the Monitors.
This issue is drawn by DC co-publisher Jim Lee, with inks by Scott Williams (and an assisting crew), and colors by Alex Sinclair (with assistance from Jeromy Cox).
ScreenCrush editor, comic-book lover, and undiagnosed masochist Matt Singer is systematically watching every single (American) comic-book movie ever made in the order in which they were released. This week in The Complete History of Comic-Book Movies: A forgotten hero flies again.
We're on the set of Avengers: Age of Ultron, inside the new Avengers Tower; formerly Stark Tower and now converted to a de facto headquarters for the Earth’s mightiest heroes. It’s all very sleek and shiny and pretty much exactly what you'd expect from a place Tony Stark calls home. Except now, it's a complete disaster. There's broken glass scattered across the floor. Furniture is destroyed. There are giant gashes in the wall. There's a production assistant dramatically swinging a giant cape around (the actors film their fight scenes without the cape, and the cape is added later in post-production).
You don't have to look too hard to see the prevalence of difficult father-son relationships in the work of Jason Aaron. In Scalped with R.M. Guera, Dashiell Bad Horse was adrift in a sea of father figures, unable to choose his own path and incapable of avoiding the same fates that befell the father who left him. In 2014, Aaron launched Southern Bastards with Jason Latour, about a conflicted man who returns to the home of his dead father, a legendary lawman; and Men of Wrath with Ron Garney, is about a father-to-be on the run from his own dad, a hired killer.
Despite the prevalence of the topic in comics, Aaron has carved out his own niche when it comes to father-son relationships, with an unflinching perspective that rings truer than most.
The sixth issue of the series, Guidebook, while certainly the D&D-style sourcebook of the event and a guide to Morrison's vision of the DC multiverse, is also a necessary section of the overall story, answering many questions and asking others, as well as providing the introduction of the Empty Hand, the series' true villain and master of the monstrous Gentry.
It's structured as stories within stories --- Marcus To draws a segment with Li'l Batman and Atomic Batman on Earth-42, while Paulo Siqueira illustrates the New Gods, Kamandi and the history of the DC Multiverse in an intercut sequence taking place on Earth-51. Both of these stories intersect with pages from the Guidebook itself, designed by Rian Hughes with illustrations by a large number of artists.
Q: What are the qualities that allow a character to sustain a solo book, and why doesn't Martian Manhunter have any of them? -- @RichBurlew
A: I gotta tell you, Rich, this is a very interesting question, and I hope you'll forgive me if I completely ignore the first half so that I can talk about the second. I mean, let's be real with each other here, if I knew what qualities made for a successful solo character, I would probably be writing that comic instead of this column, and between the two of us, you're the one who's been doing a successful and beloved character-driven story for the past decade. If anything, I should probably be asking you.
The Martian Manhunter, however, has always been a really interesting character to me, if only because in terms of being a solo character, he's the definition of an also-ran. He's been around forever, but he's never quite clicked, and I think the simple reason for that is that there's nothing he does that isn't already done better by someone else.
ScreenCrush editor, comic-book lover, and undiagnosed masochist Matt Singer is systematically watching every single (American) comic-book movie ever made in the order in which they were released. This week in The Complete History of Comic-Book Movies: Welcome to the prehistoric Marvel Cinematic Universe.
Two weeks ago, First Second Books released The Sculptor, Scott McCloud's long-awaited, five-years-in-the-making, latest graphic novel. It's a complex and nuanced work that functions as both an emotionally rich personal statement, and a masterclass in graphic storytelling (not surprising, given McCloud's authorship of the seminal Understanding Comics, and its two sequels, Reinventing Comics, and Making Comics), and it's become an immediate commercial and critical success, shooting to the top of the New York Times bestseller list, and garnering a wealth of rave reviews.
The book tells the story of David Smith, a young sculptor living in New York City who makes a deal with Death that gives him only two hundred days to live, but allows him to shape any material, creating art with his bare hands from whatever he wishes… Which seems like a great deal, until he meets a mysterious woman named Meg, and falls desperately in love with her.
In the closing days of January, Vertigo released The Unwritten: Apocalypse #12, the final installment in Mike Carey and Peter Gross' fan-favorite meta-fictional fantasy saga. The series told the story of Tom Taylor, a man trying to live down the fact that his father used his name and likeness for the Harry Potter-esque hero of his best-selling fantasy novels. As the series begins, Tom is quickly pulled into a world where the lines between fiction and reality are not so clearly drawn.
To mark the conclusion of Carey and Gross's long-running narrative, we talked to both creators to learn about the entire history of the series from initial conception to final curtain.
ScreenCrush editor, comic-book lover, and undiagnosed masochist Matt Singer is systematically watching every single (American) comic-book movie ever made in the order in which they were released. This week in The Complete History of Comic-Book Movies: The Dark Knight makes his first appearance on the big screen):
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