Grant Morrison is an interesting case. He was part of the British Invasion of comic book writers in the 1980's (with Frank Miller as their token Yankee), and his work at the time didn't quite grab attention like Alan Moore or Neil Gaiman, but he's the last man standing. Alan Moore became the modern day Howard Hughes, Gaiman became a bestselling author and screenwriter, recently getting positive marks for writing an episode of Doctor Who. This year Morrison has managed to complete his opus, Supergods, which he often hinted at in interviews over the past few years as being a survey of Superheroes and how people read them, as well as cobbling together a lot of the rhetoric about their popularity which often appeared in bits and bobs in many of his interviews.
Morrison's work can be described in two categories - stories that use structure: there's a beginning, a middle, and an end, the audience is hip to what's going on, the characters are in fine form; then there are stories that consist of moments: cause-and effect built around high-concept metaphysics. These are stories that approach the character as a concept, with reflections that play off representative samples of how they were portrayed over decades, as well as creating suspense about the nature of the world/universe/hyper reality that serves as their backdrop/soundtrack, decompressed into a 30/40-issue arc. This approach is the more ambitious, often sabotaged by modern scriptwriting. Stories like Seven Soldiers, Batman R.I.P, Final Crisis, and Batman: The Return of Bruce Wayne feel rushed and incoherent, making more sense in talk back interviews. Final Crisis felt like a typical Zombie/Vampire movie with a tired superhero/supervillain twist and not very interesting, but it was only upon reading Supergods that there was a more intriguing undertow that should have been front-and-center. It was as if Grant had been stretched thin and had to move on to his next "big event thing", his next wide screen comic book epic.
Two things Morrison neglected to mention in his book had me curious. In 2000, having completed a successful run redefining the long-running, but often mediocre mainstay, Justice League of America, as well as wrapping his creator owned title, The Invisibles, Grant claimed he was through working with DC, believing that concepts he created for The Invisibles had been ripped-off by the Matrix franchise. He then began a four-year tenure with Marvel, headlined by an interesting run on the book New X-Men that ran out of gas very quickly. Then he returned to DC. I guess he got over it - he makes no mention of the fit in particular, except perhaps with a wink when he recalls seeing the Matrix and describing his work on The Invisibles.
The other thing was a series of ads for Calvin Klein jeans that appeared on the back covers of Marvel comics a few years back. After giving Rob Liefeld a poke in the ribs for starring in a Levis jeans commercial in the 90's, I suppose Morrison couldn't find a way to make his celebrity (and that of his cronies, contemporaries, and upstart proteges) distinguishable from Rob's (and the founders of Image comics) without his reasoning falling apart.
He describes his work a lot here. For this book is a memoir disguised as a history lesson - yet that's what it does, it offers the history of Superheroes as the soundtrack to Grant Morrison's life and his universe. For within these pages, these so-called "Supergods" are his muse - his theories about life, the universe, and everything have some connection to the characters that only exist on printed paper, on TV screens, as merchandise, and the cinema. He runs the risk of making mountains out of molehills and coming off glib, but once you realize that he's offering insight into how he works, then the book becomes more interesting for it. We rarely get a chance to pick inside the brain of a popular author, see what makes him tick, and look forward to his next project with greater insight into the origins of his imagination.
In lesser hands, this book would've been an ego trip - many will see it that way. Morrison is still playing his cards close, but he's letting us take a quick peak at his hand. For now, anyway. It's worth a look.