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.
Q: Supposedly it takes three pages to hook a reader before they drop off, so what are the best opening three pages in a comic? -- @shutupadiran
A: Huh. I don't think it's going to surprise anyone to find out that I'm a dude who thinks a lot about how comic books are structured and what you can do within that structure, but I've never heard that bit about the first three pages being where you have to hook the reader. It makes sense, though -- when you look at it, those first three pages, along with the cover, form a distinct storytelling unit, and it's the first thing you see when you pick up and pop open a comic.
Thinking back on comics that I love, there's a really distinct pattern there. I like stuff that builds to a big last page just fine, but the ones that I tend to rave about when those first issues hit always open up strong. It's like the first five seconds of a song. Some of them might build to a crescendo as they go along, but when you have something like the famous beat from "Be My Baby" or the opening harmonics from "I Get Around," you know instantly that you've got something.
True Detective creator Nic Pizzolatto has claimed that Alan Moore Moore and Grant Morrison were the first writers to excite him about the possibilities of storytelling.
With everyone looking to solve the many remaining mysteries of True Detective, it’s tempting to ask: are comic books the key? Pizzolatto’s spectacular Moore crib aside, I’d go with with a big no. Ain’t nothing going to settle the debate around Carcosa let alone Marty Hart’s hot dating skills, but comics do represent a largely unexplored and appropriately strange route into the show. So without further ado here’s our by no means exhaustive guide to True Detective and weird comic books.
SPOILER WARNING: The following contains major spoilers for True Detective, Top 10, From Hell and some of The Invisibles.
Grant Morrison is known for mind-bending dialogue and Rian Hughes is a designer often associated with logo design and fonts, but the two creators have teamed up for a completely word-free comic strip (aside from the title and credits) for BBC Magazine, titled The Key.
With the massive success of Gorillaz, the animated band he co-created with Blur frontman Damon Albarn, Tank Girl co-creator Jamie Hewlett arguably has one of the most identifiable art styles of any comics artist in the world.
Which is likely why the British Library in London has tapped him to to illustrate a huge banner for its new exhibit, "Comics Unmasked: Art and Anarchy in the UK," which kicks off May 2. Check out the piece used for the banner, which features a brass-knuckle wearing superheroine leaning against an alley wall, and another piece (which Hewlett is calling his second panel) after the jump.
One of the most significant -- and to many readers, one of the most exciting -- developments in comics in the last few years has been the growth of Image Comics, with many of the most popular writers and artists in the industry currently producing much, if not all, of their creator owned work through the publisher. As such, Image Expo has become a highly anticipated event, as publisher Eric Stephenson uses the annual show to announce several upcoming books from both established and new talent.
Today's Image Expo continued that tradition, as more than a dozen new titles were announced, from Ed Brubaker, Grant Morrison, Kelly Sue DeConnick, Chris Burnham, Matt Fraction, Rick Remender and more.
Metalocalypse director Jon Schnepp went well beyond his $98,000 Kickstarter goal earlier this year to produce a movie about the abandoned Tim Burton/Nicolas Cage film Superman Lives. Now, a new teaser trailer for the doc,The Death of Superman Lives, proves that at least the movie about the movie is really happening next summer, and will include interviews with Grant Morrison, Mark Waid, and perhaps even Cage himself. You can see the full video update about the upcoming documentary, after the jump.
In case you haven't heard yet, Grant Morrison recently offered his take on the end of The Killing Joke, the seminal 1988 story from Alan Moore and Brian Bolland. Widely considered one of the greatest Batman stories -- and possibly the greatest Joker story -- of all time, the ending is, arguably, a bit ambiguous. In an interview on Kevin Smith's "Fatman on Batman," Morrison said he believes that one-shot was Moore and Bolland's take on what would be a final Batman story --similar to Moore's Superman:Whatever Happened To The Man Of Tomorrow? -- with the story ending when, in his mind, Batman chokes the Joker to death as he laughs maniacally.
The timing of this comment from Morrison is interesting, because I was talking about this scene a few days ago with a friend who I've been having this same argument with since 1998. She's on Team Morrison, believing that Batman kills the Joker as well. It's an interesting theory, and one I understand, but here's the thing: Not only do I think both my friend and Morrison are wrong, but I think Batman killing the Joker would make for a completely pointless story.
This past week, Grant Morrison's run on Batman came to a close after seven years. The run was mostly celebrated by readers and critics alike, with some calling it the greatest long-form story in the Dark Knight's history. But like anything else, the story had its detractors, largely from those who are not fond of Morrison's writing style. David Uzumeri offered his thoughts on both the final issue and the run as a whole, but now we want to know what you think.
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