Teased for years and finally launched in 2014, The Multiversity is a universe-jumping series of DC Comics one-shots tracking the cosmic monitor Nix Uotan and an assemblage of star-crossed heroes as they attempt to save 52 universes and beyond from a trippy cosmic existential threat that, like much of Morrison’s best work, represents something far more mundane and relatable. Tying back into the very first Multiverse story in DC’s history, the heroes of these universes become aware of this threat by reading about it in comic books… comic books that, it turns out, take place in neighboring universes. Indeed, writer Grant Morrison continues his streak of highly metatextual DC cosmic epics with this eight-issue mega-series (plus one Tolkienesque guidebook).
Described by Morrison as “the ultimate statement of what DC is”, The Multiversity naturally offers the reader much beyond the surface level adventure, and that means annotations. Rather than merely filling out checklists of references, my hope with this feature is to slowly unearth and extrapolate a narrative model for Morrison and his collaborators’ work on The Multiversity; an interconnecting web of themes and cause and effect that works both on literal and symbolic levels.
We’ll be focusing here on the third issue of the maxiseries, The Just, written by Morrison with artwork by Ben Oliver and color assistance from Dan Brown (the excellent colorist, not the literary hack).
Of all the spooky characters that I throw the spotlight on at Halloween, there's one that I've never really written too much about: Vampirella. That seems like a pretty big oversight, too. I mean, I once wrote about the Tomb of Dracula anime for Halloween, you'd think I could muster up a few words for one of the most recognizable horror characters of the '70s, right?
Well, the fact is, Vampirella's not actually that scary. I mean, despite her name, she's not actually a vampire. She's an alien from planet Drakulon, a planet where water has the same composition as blood. Or at least, I think that's how it worked, until 1997, when it was revealed that Drakulon was the product of memory implants and she was actually the daughter of Lilith, mother of all vampires, who sent her to destroy a 2,000 year-old conspiracy organized like a vampire Catholic Church (complete with a Vampire Pope) with the help of a time-traveling nun. Hoo boy. This is going to get complicated.
I'm going to go ahead and assume that if you're reading this, you're probably already familiar with Grant Morrison. That said, even if you've gone back and read through everything from Animal Man on up trying to put together a comprehensive, unifying theory of his work, then there's still a piece of the puzzle that you might be missing: Zenith, the story about a teenage superhero that he and Steve Yeowell created in the pages of 2000 AD. Aside from a limited edition hardcover that sold out quick last year, it hasn't been reprinted until this week, when 2000 AD released it as the first title that they've ever simultaneously printed on both sides of the Atlantic.
Grant Morrison has been talking about his film passion project, a psychedelic Western called Sinatoro, since at least 2010. It was even promoted with a poster. But the writer's screenplay has ended up taking the route so many projects take on the way to becoming movies: It will be a comic first.
Morrison will work with artist Vanesa Del Rey on the series, which will come out some time next year from Black Mask Studios, the comics and transmedia company launched last year by comics artist Ben Templesmith, writer Steve Niles, Bad Religion guitarist/songwriter Brett Gurewitz and Matt Pizzolo of Occupy Comics. It's one piece of a big and not too shabby slate of new comics coming from the publisher in the next year, the highlights of which you can check out below.
We'll be focusing here on the second issue of the maxiseries, the unwieldily titled The Multiversity: The Society of Super-Heroes: Conquerors of the Counter-World, written by Grant Morrison with pencils by Tom Strong's Chris Sprouse, inks by Karl Story and Walden Wong, and gorgeous colors by Dave McCaig.
I'll admit here from the beginning that while I can talk about this series' relationship to the DC Universe and Morrison's oeuvre, I'm close to clueless about the vagaries of early 20th century pulp fiction and would be incredibly interested in hearing from more learned readers whatever I've missed from that angle. That said, there's still a great deal of meat to dig into in this issue, which serves as a sort of conceptual counterpoint to Final Crisis's opening scene, showing us the end of Anthro and Vandal Savage's 40,000-year feud.
Teased for years and finally launched this week, The Multiversity is a universe-jumping series of DC Comics one-shots tracking the cosmic monitor Nix Uotan and an assemblage of star-crossed heroes as they attempt to save 52 universes and beyond from a trippy cosmic existential threat that, like much of Morrison’s best work, represents something far more mundane and relatable. Tying back into the very first Multiverse story in DC’s history, the heroes of these universes become aware of this threat by reading about it in comic books… comic books that, it turns out, take place in neighboring universes. Indeed, writer Grant Morrison continues his streak of highly metatextual DC cosmic epics with this eight-issue mega-series (plus one Tolkienesque guidebook).
Described by Morrison as "the ultimate statement of what DC is", The Multiversity naturally offers the reader much beyond the surface level adventure, and that means annotations. Rather than merely filling out checklists of references, my hope with this feature is to slowly unearth and extrapolate a narrative model for Morrison and his collaborators' work on The Multiversity; an interconnecting web of themes and cause and effect that works both on literal and symbolic levels.
Three pages into the preview for The Multiversity #1, I knew I was going to have a lot to work with.
With no further ado, go get your erasers and your textbooks, close your laptops, sharpen your pencils, and get ready for some course notes. Let's go to school.
While at Comic Con, Grant Morrison dropped several enigmatic hints and subliminal messages to ComicsAlliance about his next mega-event, Multiversity, broke down the divisions between fictional universes, and even proclaimed that he thinks that he's made the world's first real superhero. He says things like that. Some people like him, many love him, and some people straight up hate him. With Multiversity starting up in August, you can be sure that there will soon be legions of detractors proclaiming that Morrison is the most overrated writer in comics, and nothing he's ever done has ever made any sense.
The release of DC's Doom Patrol Omnibus finally equips us to give these people the bludgeoning they deserve. (Metaphorical bludgeoning. ComicsAlliance does not condone actual bludgeoning.)
For years now, DC Comics fans have been hearing about writer Grant Morrison's The Multiversity -- a universe-jumping series of one-shot stories tied together by an introductory and concluding issue that tracks the cosmic monitor Nix Woton as he tries to save multiple universes from an existential threat. Universes that become aware of this threat by reading about it in comic books... comic books that, it turns out, take place in neighboring universes. We first saw artwork from Frank Quitely's installment all the way back in 2012, but the project has been in the works since even before the advent of DC's line-wide 2011 reboot, the New 52 (a name that has proven confusing in the past, but, we promise, never more so than in this interview).
Now it's finally starting next month, featuring auspicious collaborations with artists including Cameron Stewart, Ben Oliver, Chris Sprouse, Ivan Reis, Frank Quitely, and even more besides, introducing readers to a Vampire Batman, a Nazi Superman, a dinosaur cop, "Sister Miracle," an evil comic book called Ultra Comics, and tons of other ideas inspired by the deep history of DC Comics lore.
Okay, so there's good news and bad news. The good news is that ComiXology is having a massive sale on Batman comics, and has knocked a bunch of them down to 99¢ each, which means that you can grab some great stories on the cheap. The bad news? Since this whole thing is in honor of Batman's 75th anniversary, they've put 750 comics on sale, plus a handful of graphic novel collections. All things considered, that's a pretty good problem to have, but still, that can be pretty overwhelming.
Fortunately, we're here to help. As the World's Foremost Batmanologist, I've sifted through the sale to bring you safe bets for what you should be grabbing during the sale. Assuming you've got the obvious ones -- like The Dark Knight Returns, Batman: Year One and the recent runs by Morrison, Snyder, and Capullo -- here's what to grab next!
Q: Why is DC One Million the best crossover ever? -- @SerialWordsmith
A: Whenever I'm asked about my favorite DC crossover, the one that I always go with is Invasion!, and I think there's a pretty good argument you can make. It's done in three oversized issues, so it's quick but still feels like an epic story since they're all 80-page giants, it has a great use of some often-neglected parts of DC's cosmic side, and there are pretty fantastic tie-ins from creators doing career-best work on books like Suicide Squad and Animal Man, and it really did add something interesting to the DC Universe.
Then someone mentions DC One Million and I realize that yeah, I'm wr-- I'm mista-- I'm misremembering things, because it's definitely the best. I mean, it's not just the best DC crossover, but it's probably the single best crossover in all of superhero comics.
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