Since Morrison otherwise works on characters and material he has no final control over, The Invisibles is his chance to explore a world entirely of his own creations. Thus he fills the comic with all kinds of outlandish ideas, but at the same time Apocalipstick reads more like a collection of short semi-connected stories than a full cohesive package.
After moderately enjoying two of Grant Morrison’s Animal Man books and one of his slim JLA collections, I was very interested in getting into this book since it was the first all-in-one collection of Morrison’s on my library tour of his work.
I guess I don’t understand the economics of the comic book industry that it can’t make an affordable collection of a 26-issue comic series, which is the number of issues Morrison worked on Animal Man. So instead of an all-in-one volume, Animal Man is broken up into three separate collections.
Even though JLA: Rock of Ages takes place within regular DC “continuity”–originally published in serial comics from in 1997-98–it’s as bizarre and foreign to someone who read DC comics as a teenager and picked this book up twenty years later.
Animal Man #6-9 gets unfortunately bogged down by some moronic DC company-wide crossover event called “Invasion” that absolutely ruins Morrison’s otherwise stellar story pacing and character development. It’s idiotic so-called “events” like this that have been dragging down the American superhero comic market, a strategy that makes me almost not recommend an otherwise stellar comic collection.
So now we come to Terra Obscura, a relatively recent (originally published in 2003) superhero comic without that 70 or 40 year backstory that comes with reading DC and Marvel comics. However, the book is a spin-off of another comic called Tom Strong, which has only been around since 1999.But reading the first page of the book, which was an introductory text page, sent my head spinning.
What makes The Last Heroes different from almost all other superhero comics is that Grant and Kane put their heroic characters in a world without supervillains, creating a very political kind of superhero adventure. Grant’s politics, which he puts on full display in Permanent Damage, closely mirror my own, which is progressive in nature.