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Injection #2

It's such a Warren Ellis work in conception, dialogue, and pacing that the name on the cover is almost ridiculously redundant. That's the best reason for or against reading it, depending on your tastes.

One thing of note: his use of non-dialogue text is quite interesting, somewhat similar in spirit to his Moon Knight run. Not as out there as more experimental comics, but he's probably one of the current relatively well-known comic book writers that focuses the most on fiddling with media possibilities in general (his email newsletter is often a record of what he's reading and thinking about, and although I don't share many of his interests, he's clearly a reflective and inquisitive writer).

As an aside, Morrison's Nameless #4 is also pure late Morrison, which means it's a deranged excursion into forces of reality-destroying supernatural evil.

You know, the transition between Morrison's early JLA and Morrison's Final Crisis could be described as going from professionals so badass they become legendary to legends so legendary they become godlike. A movement from tactical engineering to hermeneutical magic, if you will.

Comments

( 6 comments — Leave a comment )
oflittlefaith
Jun. 12th, 2015 08:03 am (UTC)
I haven't bought a single issue comic in years. I look forward to the inevitable trade. This is Ellis, after all. Tactical engineering is a nice turn of phrase.
__marcelo
Jun. 12th, 2015 06:14 pm (UTC)
Given the sparse or sometimes erratic schedules of some comics, trades seem like a good idea (although we are still in self-control territory alien to me).

Speaking of trades to be, I have no idea why Hickman's SHIELD was left incomplete. Hickman has basically been running Marvel the last few years, and SHIELD felt like his most personal project among his Marvel work (that said, I have no idea in hell how the recent panapocalypse fits with either Newton's 2060 prediction or the temporary Ultronified future the time-displaced Avengers (specially Captain America) saw. Neither matches what we know will be the post-Secret Wars world.

I also have no idea why I keep expecting tight forward consistency in comics. Quoting A Softer World, what am I, new?
(Anonymous)
Jun. 13th, 2015 07:01 am (UTC)
Amusingly, I don't think of myself as having much self-control either. My diet is mediocre trending towards appalling, I drink far too much, and it took me a decade to quit smoking once I made the decision to do so.

I kicked the comic habit cold turkey for financial reasons (and kept smoking for a few more years, proving that weak logic is powerless against strong habit) and have only occasionally dipped my toe in again via the library.

I've got no idea what's going on in comics currently, or what either of the two possible fitures you mentioned are, though I like the word panapocalypse.

Quoting...something I've forgotten, "Plot? Coherence? Feh."
__marcelo
Jun. 13th, 2015 10:08 pm (UTC)
We contradict ourselves, we contain multitudes.

The continuous escalation of stakes in comics is putting some strain in the vocabulary of disaster. Morrison's latest multiversal crisis (Multiversity, not Final Crisis (which was a more psychedelic rehash of his other Darkseid-takes-over-everything story Rock of Ages (not to be confused with the very similar Darkseid War (which will feature both Darkseid and the Anti-Monitor (last seen, I think, in Infinite Crisis (not to be confused with Crisis on Infinite Earth, which began this whole sorry debacle (although I should mention here Age of Apocalypse (which technically was a temporary remake of history, not a parallel universe (no, no, I refuse to continue)))))))) even indicated that our universe (which is also part of DC's recent multiverse (I think it will still be?)) was dying, so panapocalypse might be still too weak a world.

I half-suspect part of Morrison get somewhat disappointed every time his comics don't change our fundamental reality through a cabbalistic backchannel (unless there is a secret unpublished set of comics that do that, and he just publishes the harmless stuff to help reality be more receptive to the hidden ones (I think I described once before an idea about rival groups of reality-altering comic book writers, but I forgot wher)).


Edited at 2015-06-13 10:09 pm (UTC)
oflittlefaith
Jun. 15th, 2015 08:20 am (UTC)

#whitman reference


#crisis in infinite parentheses


On the one hand, I liked Age of Apocalypse. On the other, that was about the time I realized that I was buying way too damn many x-men comics ai didn't care about. On the tertiary hand, as with smoking,  it took me another decade to kick the comic habit completely.


As for Morrison, I'd accept that he believes that he -is- affecting the "real world" with his comics dramaturgy.

__marcelo
Jun. 15th, 2015 06:09 pm (UTC)
As for Morrison, I'd accept that he believes that he -is- affecting the "real world" with his comics dramaturgy.

Yeah, that's possible/likely. To be honest, I find Renaissance hermetic magic a more aesthetically pleasing paradigm than most of the other supernatural frameworks. I mean, it's loopy, even more inconsistent than most religions, and mostly based on a whooper of a philological error, but it's eclectic, bookish, and kind of relatively harmless to third parties. Perhaps that was because it never achieved any degree of political power; maybe by definition it couldn't have -there's no way to make philosophical alchemy a popular belief, not at least without universal literacy- but it's interesting to ponder how an hegemonic hermeticism would have looked like, and what sort of repressive moves it'd have made to keep itself hegemonic (assuming it truly worked would've been cheating; even something as mythologically uninspiring as science gets to be mostly universally credible once it shows it can make drastically better weapons).
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