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Animal Man (1988-1995) #1-3
Animal Man Omnibus
From Grant Morrison, Eisner Award winning writer of ALL-STAR SUPERMAN and bestselling author of Supergods: What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us About Being Human, this new hardcover collects Morrison's entire groundbreaking run on ANIMAL MAN altogether for the first time .
Buddy Baker is more than just a second-rate super hero--He's also a devoted family man and animal rights activist. Now, as he tries to jump-start his crimefighting career, he experiences visions of aliens, people transforming into strange pencil-like drawings, and hints of a terrible crisis lurking around the edges of reality. And as his odyssey of self-discovery gives way to spiritual enlightenment as well as the depths of despair, Buddy meets his maker: a writer named Grant Morrison.
Collects ANIMAL MAN #1-26 and SECRET ORIGINS #39.
Buddy Baker is more than just a second-rate super hero--He's also a devoted family man and animal rights activist. Now, as he tries to jump-start his crimefighting career, he experiences visions of aliens, people transforming into strange pencil-like drawings, and hints of a terrible crisis lurking around the edges of reality. And as his odyssey of self-discovery gives way to spiritual enlightenment as well as the depths of despair, Buddy meets his maker: a writer named Grant Morrison.
Collects ANIMAL MAN #1-26 and SECRET ORIGINS #39.
708 pages, Hardcover
First published May 1, 1989
71 people are currently reading
909 people want to read
About the author
Grant Morrison
1,791 books4,563 followersGrant Morrison has been working with DC Comics for twenty five years, after beginning their American comics career with acclaimed runs on ANIMAL MAN and DOOM PATROL. Since then they have written such best-selling series as JLA, BATMAN and New X-Men, as well as such creator-owned works as THE INVISIBLES, SEAGUY, THE FILTH, WE3 and JOE THE BARBARIAN. In addition to expanding the DC Universe through titles ranging from the Eisner Award-winning SEVEN SOLDIERS and ALL-STAR SUPERMAN to the reality-shattering epic of FINAL CRISIS, they have also reinvented the worlds of the Dark Knight Detective in BATMAN AND ROBIN and BATMAN, INCORPORATED and the Man of Steel in The New 52 ACTION COMICS.
In their secret identity, Morrison is a "counterculture" spokesperson, a musician, an award-winning playwright and a chaos magician. They are also the author of the New York Times bestseller Supergods, a groundbreaking psycho-historic mapping of the superhero as a cultural organism. They divide their time between their homes in Los Angeles and Scotland.
In their secret identity, Morrison is a "counterculture" spokesperson, a musician, an award-winning playwright and a chaos magician. They are also the author of the New York Times bestseller Supergods, a groundbreaking psycho-historic mapping of the superhero as a cultural organism. They divide their time between their homes in Los Angeles and Scotland.
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Displaying 1 - 30 of 198 reviews
November 12, 2022
I read the comic books Animal Man #1-26 and Secret Origins #39. This is one of the most well known runs in DC comic books, and yet another example of Grant Morrison creating groundbreaking storytelling. From the very first issue you know you are entering some alternate at times surreal DC Universe that somehow lives alongside the mainstream DC Universe! 8 out of 12
2017 read; 2013 read
2017 read; 2013 read
March 8, 2017
*Spoilers*
I can understand why so many people like this comic. It's by far one of the strangest and most unique comic I've read so far, even compared to Morrison's Doom Patrol.
Morrison was definitely on something strong when he wrote this, but surprisingly it work really well.
Buddy's (Animal Man) super powers come across as really lame at first and later on you realise how powerful he is. At one point he is captured and sealed in a room with no animals around him to replicate and he does something spectacular! I love the way he is so resourceful with his powers it makes him very adaptable to any situation and always underestimated.
The most favourable storyline in the book was volume 1, where he fights with a fellow justice leaguer. There is a really emotional scene where a super intelligent ape gets experimented on with Anthrax. As you can imagine it's quite horrific. This really adds depth, character and meaning to the whole story. From that stage onwards buddy becomes a vegetarian and an animal activist, it puts him in some interesting situations, some situations are extremely horrific and have most definitely happened in real life at one point or another.
I'd say the negative parts of this story are the hallucination and meaning of the universe parts, it's very Morrison and I think this bit in particular must have been written after a massive acid binge. ....and Aliens stupid bloody yellow aliens that talk in riddles about the continuum (the infinite crisis.), I'm so bored of hearing that word especially with DC and Marvel launching convergence and secret wars. FFS, if they want to create a world, stop changing it, introduce new characters or worlds instead.
Secondly, there are several really good stories which build up and up and then slow down again (mainly because of the stupid aliens). It's not a consistent ride of action and excitement, but it builds a great overall story of enlightenment, discovery, love and tragedy.
There is real meaning to this character, Morrison writes him as a real life human being, but stuck within a comic, so he is written uniquely different from any DC or any other comic book character I've ever read. One point within the story that puts into perspective is when he is challenged by a villain that can control time. The so called villain wants to turn back time at the graveyard located in Paris, so that people can get another chance to see their lost loved ones once again. The justice league rush in to stop him and they are quickly defeated by the villain, but then animal man steps up and asks him to stop. The villain says you can hurt me and animal man says "No, I don't want to hurt you, but you should think about what you're doing right now!" The villain is completely taken back and they have a conversation about what he is doing to people's lives. It's a great example of how differently he is written. Anyone else would have just hit him, which is what eventually happens to him by a fellow justice leaguer, causing more harm than good.
There is a massive part of this book which is shit. The end. Morrison decides to put himself in the comic and bring buddy alive and break the fourth wall. WTF? Typical GM.
In a lot of ways this book was far ahead of its time and in some ways it still is. It addresses issues with global warming and animal experiments and aims the story towards a more intelligent reader. Some people say this is Morrison's best. I don't agree with that. If I were to choose I'd say his run on New X-Men or Allstar Superman.
Buddy is not a traditional hero, but he's definitely one of my heroes!
I can understand why so many people like this comic. It's by far one of the strangest and most unique comic I've read so far, even compared to Morrison's Doom Patrol.
Morrison was definitely on something strong when he wrote this, but surprisingly it work really well.
Buddy's (Animal Man) super powers come across as really lame at first and later on you realise how powerful he is. At one point he is captured and sealed in a room with no animals around him to replicate and he does something spectacular! I love the way he is so resourceful with his powers it makes him very adaptable to any situation and always underestimated.
The most favourable storyline in the book was volume 1, where he fights with a fellow justice leaguer. There is a really emotional scene where a super intelligent ape gets experimented on with Anthrax. As you can imagine it's quite horrific. This really adds depth, character and meaning to the whole story. From that stage onwards buddy becomes a vegetarian and an animal activist, it puts him in some interesting situations, some situations are extremely horrific and have most definitely happened in real life at one point or another.
I'd say the negative parts of this story are the hallucination and meaning of the universe parts, it's very Morrison and I think this bit in particular must have been written after a massive acid binge. ....and Aliens stupid bloody yellow aliens that talk in riddles about the continuum (the infinite crisis.), I'm so bored of hearing that word especially with DC and Marvel launching convergence and secret wars. FFS, if they want to create a world, stop changing it, introduce new characters or worlds instead.
Secondly, there are several really good stories which build up and up and then slow down again (mainly because of the stupid aliens). It's not a consistent ride of action and excitement, but it builds a great overall story of enlightenment, discovery, love and tragedy.
There is real meaning to this character, Morrison writes him as a real life human being, but stuck within a comic, so he is written uniquely different from any DC or any other comic book character I've ever read. One point within the story that puts into perspective is when he is challenged by a villain that can control time. The so called villain wants to turn back time at the graveyard located in Paris, so that people can get another chance to see their lost loved ones once again. The justice league rush in to stop him and they are quickly defeated by the villain, but then animal man steps up and asks him to stop. The villain says you can hurt me and animal man says "No, I don't want to hurt you, but you should think about what you're doing right now!" The villain is completely taken back and they have a conversation about what he is doing to people's lives. It's a great example of how differently he is written. Anyone else would have just hit him, which is what eventually happens to him by a fellow justice leaguer, causing more harm than good.
There is a massive part of this book which is shit. The end. Morrison decides to put himself in the comic and bring buddy alive and break the fourth wall. WTF? Typical GM.
In a lot of ways this book was far ahead of its time and in some ways it still is. It addresses issues with global warming and animal experiments and aims the story towards a more intelligent reader. Some people say this is Morrison's best. I don't agree with that. If I were to choose I'd say his run on New X-Men or Allstar Superman.
Buddy is not a traditional hero, but he's definitely one of my heroes!
August 19, 2024
Middle ground Morrison, it’s meat-hating and metafictional, moderate and mumbling, then masticates a mittenful of molly to metamorphose and mystify our minds. A must!
February 7, 2014
Grant Morrison, why do you make my life so hard!
I love some of your stuff. Then you get cosmic and I can't love you anymore. It's like we're dating. You're a super hot Scottish lady (for readers here, Grant Morrison is Scottish. So I've decided to turn his work into a Scottish woman I'm dating. I kept the geography, lopped off the anatomy)and you're great, but every three days you drop acid and then I can't fucking stand hanging out with you because while you're still sort of sexy and interesting (god, I'm lonely) and look really great in the nude (ew, lonelier than I thought!)I just can't have one more conversation about how the planets and the moon and something something. I just can't.
Here's the thing. This volume starts strong. Grant Morrison does some pretty interesting stuff with Animal Man, who is a total second-stringer. Which doesn't sound so bad, but when the first string is Superman, you aren't going to get a lot of time on the field. In fact, this book makes some arguments about the badness of eating meat that I wouldn't hear in the rest of the world for another ten or fifteen years. So it's pretty far ahead of its time there.
And then this train derails and goes all Trial of Galactus on us.
I'll explain.
Once upon a time there was this guy named John Byrne. A controversial figure in comics, he wrote some great stories and some not so great stories. He also had a habit of getting himself in trouble by saying things like, well, when they asked him about Jessica Alba playing Sue Storm in the Fantastic Four movie, his reaction was: "Personal prejudice: Hispanic and Latino women with blond hair look like hookers to me, no matter how clean or 'cute' they are."
Woof.
I mean, WOOF.
But, y'know. Orson Scott Card says fucked up shit about gay people that would twist your head clean off your body, so this isn't new.
Anyway, John Byrne writes this story. And actually, it's good. I might go so far as to say great. In it, Mr. Fantastic saves Galactus, a giant creature that eats whole planets and wears a purple tuning fork helmet thing. I mention the getup because he has committed many crimes against various races, but fashion crimes are EVERYONE'S jurisdiction.
So the setup is that Mr. Fantastic somehow saves Galactus from dying, and then some Council of Weird Aliens (there's always one of these, right?) puts Reed Richards on trial, asking the question of whether or not he should be held responsible for the destruction of planets that follows his saving of Galactus.
Okay, makes sense. Pretty good story, really.
Here's how it ends.
In the final issue, John Byrne shows up in the comic. Yes, the writer, for no real reason, is drawn into the comic, and all the characters seem to know him. "Hey, John." "Sup, John."
Now, reading this, it's not really in tone with what's been happening. You're thinking, super serious trial, what's going to happen, holy shit!?
I'm going to spoil the ending here. So if you were planning to read this, I guess stop now. Or skip to the next part. The ending is total bullshit, so in a way I think I'm saving you some wasted pages, but that's for you to decide for yourself, not me.
What happens is, and this is narrated by John Byrne, is that some crazy eternal creature is summoned, and this creature uses some bizarre psychic mind meld shit to explain to everyone why Galactus must continue and cannot be allowed to die. HE DOES NOT ACTUALLY SHARE THIS REASONING ON ANY LEVEL. John Byrne just tells us that it's some very compelling shit, and we're pretty much left to understand that we could never understand. Even if he tried to explain it.
I feel like he could have tried, but hey, that's me. I thought I was reading some sort of narrative that hinged on the ending here.
Anyway, if you want to talk to me about John Byrne, I will ALSO rage for hours at a time about the machine Lex Luthor built to discover Superman's secret identity. My father left our family when I was in my early teens, and I still can't summon the emotion for that whole thing that I can for the Lex Luthor Secret Identity Gizmo of Shit.
So back to Animal Man.
At the end of his run, Grant Morrison writes himself into the comic. Animal Man is pretty confused, and so is the reader. But basically, Grant Morrison is himself, Animal Man is still the character, and somehow Animal Man has traveled into the real world and is now talking to his creator.
Here's what I didn't like about it.
It's not really a comic book anymore. Or it's not an Animal Man comic book. It's Grant Morrison Man. Who doesn't have a lot of super powers or anything, but there he is on the page. Also, I didn't care for the way this happened over the course of three issues. At some point, Animal Man is outside the panels, fighting bad guys by pulling them outside the panels and shit. I just...it's cute, but it's not for me.
Here's what I did like about it.
The final issue, the one where Grant Morrison shows up? It works. Sort of. The premise is insane, and it's still a bit of a cop out. But what happens is that he handles it differently than Byrne did. Instead of making him a character in the story, he uses the page to do a few things. He explains how he felt like the way he was writing Animal Man was getting stale, that basically he had Animal Man addressing whatever animal-cruelty-related issue had come up that day. He told a story from his real life that had been incorporated into the comic earlier.
One of the most interesting parts, he tells about his cat dying. It's horrible, and he admits in the comic that the way his life was, his cat dying was terrible, but he caught himself saying, "Well, at least I can incorporate this into Animal Man somehow." He was almost excited about it, and that didn't sit well with him.
It's a big reversal. Oftentimes you'll hear a writer say that he or she used pain to create a story. Channeled pain into something great. But rarely do you hear someone admit that they're starting to feel like a vulture, picking at the bones of their dead pets and relationships and the corpses of the selves that they've left behind. You don't usually hear about the guilty part, the part that feels bad about living life that way.
So while I don't appreciate how we got there, I think the final issue was a success. It was a very different ending than I've seen in a lot of comics. And the way it differed from Trial of Galactus, I didn't get the idea whatsoever that Grant Morrison was trying to glorify himself by including himself in the comic. Instead, the tone was far more confessional and heartbreaking in some ways.
I didn't get an ending to Animal Man, not really. And in that way, the book is a failure. It also broke the rules in a way that doesn't really work for me, and that I also consider a failure. But on the other hand, I'll probably remember the things he said about his cat and his imaginary friend that he used to signal by flashlight. So as much as it pains me to say: You win this round, Morrison. And I hope you're doing better.
I love some of your stuff. Then you get cosmic and I can't love you anymore. It's like we're dating. You're a super hot Scottish lady (for readers here, Grant Morrison is Scottish. So I've decided to turn his work into a Scottish woman I'm dating. I kept the geography, lopped off the anatomy)and you're great, but every three days you drop acid and then I can't fucking stand hanging out with you because while you're still sort of sexy and interesting (god, I'm lonely) and look really great in the nude (ew, lonelier than I thought!)I just can't have one more conversation about how the planets and the moon and something something. I just can't.
Here's the thing. This volume starts strong. Grant Morrison does some pretty interesting stuff with Animal Man, who is a total second-stringer. Which doesn't sound so bad, but when the first string is Superman, you aren't going to get a lot of time on the field. In fact, this book makes some arguments about the badness of eating meat that I wouldn't hear in the rest of the world for another ten or fifteen years. So it's pretty far ahead of its time there.
And then this train derails and goes all Trial of Galactus on us.
I'll explain.
Once upon a time there was this guy named John Byrne. A controversial figure in comics, he wrote some great stories and some not so great stories. He also had a habit of getting himself in trouble by saying things like, well, when they asked him about Jessica Alba playing Sue Storm in the Fantastic Four movie, his reaction was: "Personal prejudice: Hispanic and Latino women with blond hair look like hookers to me, no matter how clean or 'cute' they are."
Woof.
I mean, WOOF.
But, y'know. Orson Scott Card says fucked up shit about gay people that would twist your head clean off your body, so this isn't new.
Anyway, John Byrne writes this story. And actually, it's good. I might go so far as to say great. In it, Mr. Fantastic saves Galactus, a giant creature that eats whole planets and wears a purple tuning fork helmet thing. I mention the getup because he has committed many crimes against various races, but fashion crimes are EVERYONE'S jurisdiction.
So the setup is that Mr. Fantastic somehow saves Galactus from dying, and then some Council of Weird Aliens (there's always one of these, right?) puts Reed Richards on trial, asking the question of whether or not he should be held responsible for the destruction of planets that follows his saving of Galactus.
Okay, makes sense. Pretty good story, really.
Here's how it ends.
In the final issue, John Byrne shows up in the comic. Yes, the writer, for no real reason, is drawn into the comic, and all the characters seem to know him. "Hey, John." "Sup, John."
Now, reading this, it's not really in tone with what's been happening. You're thinking, super serious trial, what's going to happen, holy shit!?
I'm going to spoil the ending here. So if you were planning to read this, I guess stop now. Or skip to the next part. The ending is total bullshit, so in a way I think I'm saving you some wasted pages, but that's for you to decide for yourself, not me.
What happens is, and this is narrated by John Byrne, is that some crazy eternal creature is summoned, and this creature uses some bizarre psychic mind meld shit to explain to everyone why Galactus must continue and cannot be allowed to die. HE DOES NOT ACTUALLY SHARE THIS REASONING ON ANY LEVEL. John Byrne just tells us that it's some very compelling shit, and we're pretty much left to understand that we could never understand. Even if he tried to explain it.
I feel like he could have tried, but hey, that's me. I thought I was reading some sort of narrative that hinged on the ending here.
Anyway, if you want to talk to me about John Byrne, I will ALSO rage for hours at a time about the machine Lex Luthor built to discover Superman's secret identity. My father left our family when I was in my early teens, and I still can't summon the emotion for that whole thing that I can for the Lex Luthor Secret Identity Gizmo of Shit.
So back to Animal Man.
At the end of his run, Grant Morrison writes himself into the comic. Animal Man is pretty confused, and so is the reader. But basically, Grant Morrison is himself, Animal Man is still the character, and somehow Animal Man has traveled into the real world and is now talking to his creator.
Here's what I didn't like about it.
It's not really a comic book anymore. Or it's not an Animal Man comic book. It's Grant Morrison Man. Who doesn't have a lot of super powers or anything, but there he is on the page. Also, I didn't care for the way this happened over the course of three issues. At some point, Animal Man is outside the panels, fighting bad guys by pulling them outside the panels and shit. I just...it's cute, but it's not for me.
Here's what I did like about it.
The final issue, the one where Grant Morrison shows up? It works. Sort of. The premise is insane, and it's still a bit of a cop out. But what happens is that he handles it differently than Byrne did. Instead of making him a character in the story, he uses the page to do a few things. He explains how he felt like the way he was writing Animal Man was getting stale, that basically he had Animal Man addressing whatever animal-cruelty-related issue had come up that day. He told a story from his real life that had been incorporated into the comic earlier.
One of the most interesting parts, he tells about his cat dying. It's horrible, and he admits in the comic that the way his life was, his cat dying was terrible, but he caught himself saying, "Well, at least I can incorporate this into Animal Man somehow." He was almost excited about it, and that didn't sit well with him.
It's a big reversal. Oftentimes you'll hear a writer say that he or she used pain to create a story. Channeled pain into something great. But rarely do you hear someone admit that they're starting to feel like a vulture, picking at the bones of their dead pets and relationships and the corpses of the selves that they've left behind. You don't usually hear about the guilty part, the part that feels bad about living life that way.
So while I don't appreciate how we got there, I think the final issue was a success. It was a very different ending than I've seen in a lot of comics. And the way it differed from Trial of Galactus, I didn't get the idea whatsoever that Grant Morrison was trying to glorify himself by including himself in the comic. Instead, the tone was far more confessional and heartbreaking in some ways.
I didn't get an ending to Animal Man, not really. And in that way, the book is a failure. It also broke the rules in a way that doesn't really work for me, and that I also consider a failure. But on the other hand, I'll probably remember the things he said about his cat and his imaginary friend that he used to signal by flashlight. So as much as it pains me to say: You win this round, Morrison. And I hope you're doing better.
February 18, 2016
52 piqued my interest in several heroes, but the one that I found the most intriguing was Animal Man. So, I went looking for his best stories and found that this was a must read. This time, the internet was absolutely correct. I've gone on to read the current series by Jeff Lemire: Animal Man, Vol. 1: The Hunt, and it is also great.
This book has a few different sections with the beginning establishing Buddy Baker as Animal Man dealing with being a superhero family man. The whole superhero having a family is one of the most interesting and vital things for this hero. It also makes him stand out against heroes who have had their marriages ripped apart: Spider-man in One More Day and Superman in the New 52 (ironic as Morrison is also writing New 52 Supes). This idea of family is what makes the book interesting before it gets to the section it's commonly remembered for.
The Coyote Gospel hits the book and suddenly everything is up in the air. Shit gets weird. Real weird. However, the character of Buddy remains and his struggles retain their reliability through him. The last half of the book is a masterwork in surreal comic writing and the best I've read from Grant Morrison. He relies on a few things that have become somewhat common since then, but the innovation and care which are demonstrated here put this series on another level.
This book has a few different sections with the beginning establishing Buddy Baker as Animal Man dealing with being a superhero family man. The whole superhero having a family is one of the most interesting and vital things for this hero. It also makes him stand out against heroes who have had their marriages ripped apart: Spider-man in One More Day and Superman in the New 52 (ironic as Morrison is also writing New 52 Supes). This idea of family is what makes the book interesting before it gets to the section it's commonly remembered for.
The Coyote Gospel hits the book and suddenly everything is up in the air. Shit gets weird. Real weird. However, the character of Buddy remains and his struggles retain their reliability through him. The last half of the book is a masterwork in surreal comic writing and the best I've read from Grant Morrison. He relies on a few things that have become somewhat common since then, but the innovation and care which are demonstrated here put this series on another level.
February 11, 2017
Much easier to read and more enjoyable than his Doom Patrol. I also liked the the final issue were Buddy meets Grant Morrison and Buddy is begging for his family back and Grant Morrison couldn't give a shit because they're dead and it's just comics and it added drama. Poor Buddy.
January 25, 2020
I really loved this insane series. As a longtime Morrison fan, I always kicked myself for never having read this, one of his most iconic runs, and basically the thing that started his mainstream comics career. But, at the same time, I'm kind of glad I waited until after I'd already lots of his other stuff.
Knowing how his tastes and recurring themes evolved over the years, it's very cool to see them gestating here. What starts as a fairly straightforward, slightly eccentric series about a dude with animal powers gradually builds itself into a huge commentary on comics themselves, and features the genesis of Morrison's oft-returned-to idea of comics as living art, as well as playing around a lot with the idea of parallel comics universes. Without his beginnings in Animal Man, we wouldn't have gotten his introspective run on Batman, his multiversal explorations in 52 and The Multiversity, his insane metafictional extrapolations in The Invisibles and The Filth, and so on. This book feels very foundational.
The thing that really struck me as I made my way through this book, though, is just how readable it is. That's not always Morrison's strong suit. Sometimes his comics are like puzzles that have to be solved. Rewarding puzzles, but still, puzzles. This book just kind of... flows. His dialogue and character development are spot on, and each individual issue features a central story all on its own, so it feels episodic with little lingering serial elements building up in the background. It's really masterful, and reminds me of Alan Moore's subtle worldbuilding in Tom Strong.
So, I can't recommend this enough. There are a ton of big, wild ideas in here, and they all really pay off. It's also one of Morrison's more emotional works, somehow, which I fully didn't expect. What can I say, the guy can write.
Knowing how his tastes and recurring themes evolved over the years, it's very cool to see them gestating here. What starts as a fairly straightforward, slightly eccentric series about a dude with animal powers gradually builds itself into a huge commentary on comics themselves, and features the genesis of Morrison's oft-returned-to idea of comics as living art, as well as playing around a lot with the idea of parallel comics universes. Without his beginnings in Animal Man, we wouldn't have gotten his introspective run on Batman, his multiversal explorations in 52 and The Multiversity, his insane metafictional extrapolations in The Invisibles and The Filth, and so on. This book feels very foundational.
The thing that really struck me as I made my way through this book, though, is just how readable it is. That's not always Morrison's strong suit. Sometimes his comics are like puzzles that have to be solved. Rewarding puzzles, but still, puzzles. This book just kind of... flows. His dialogue and character development are spot on, and each individual issue features a central story all on its own, so it feels episodic with little lingering serial elements building up in the background. It's really masterful, and reminds me of Alan Moore's subtle worldbuilding in Tom Strong.
So, I can't recommend this enough. There are a ton of big, wild ideas in here, and they all really pay off. It's also one of Morrison's more emotional works, somehow, which I fully didn't expect. What can I say, the guy can write.
June 11, 2023
Animal Man by Grant Morrison.
A omnibus i wanted to read for years, and it did not dissapoint. It blew my mind actually.
Morrison's writing can be brilliant, but can also be so meta it melts your brain. This book is also really meta, but in a great way. This is one of the best runs i have ever read. The story is fast, and even dark at times. Also lighthearded and fun, but just downright original. This is one of those runs worthy of all its praise.
A omnibus i wanted to read for years, and it did not dissapoint. It blew my mind actually.
Morrison's writing can be brilliant, but can also be so meta it melts your brain. This book is also really meta, but in a great way. This is one of the best runs i have ever read. The story is fast, and even dark at times. Also lighthearded and fun, but just downright original. This is one of those runs worthy of all its praise.
August 8, 2015
It's terrific to have Morrison's amazing Animal Man run in a single volume with great reproduction of the original artwork.
The storyline itself gets the most praise for its fun and very innovative look at creators, the created, and the fourth wall, something that Morrison sets up very early in The Coyote Gospel (#5) and continues through to the last issue (#26). In fact, I think those are the two best issues of the run.
However, his "normal" superhero issues are quite good too. They're well written, and he plays well with both "realism" and "dark-and-gritty". Amusingly, Morrison derides both trends in his last issue ... but that doesn't meant that he doesn't write them well.
What's particularly amazing about this run, besides the ideas themselves, is how well everything is foreshadowed and setup. From #5-26, everything builds toward a very coherent whole, with mysteries appearing, then being explained in great ways many issues later. The first time you read Animal Man, this makes for a real treat.
The omnibus is a little weak toward the middle. Part of that is because you get lots of setup without resolution (though this matters less now that everything is gathered in one volume), but part of this is because Morrison gets overly preachy about animal rights toward the middle of his run -- something that amusingly he acknowledges at the end.
Still, that's a minor complaint. This is one of the best runs of a superhero comic, one of the most coherent runs, and still some of Morrison's best work.
The storyline itself gets the most praise for its fun and very innovative look at creators, the created, and the fourth wall, something that Morrison sets up very early in The Coyote Gospel (#5) and continues through to the last issue (#26). In fact, I think those are the two best issues of the run.
However, his "normal" superhero issues are quite good too. They're well written, and he plays well with both "realism" and "dark-and-gritty". Amusingly, Morrison derides both trends in his last issue ... but that doesn't meant that he doesn't write them well.
What's particularly amazing about this run, besides the ideas themselves, is how well everything is foreshadowed and setup. From #5-26, everything builds toward a very coherent whole, with mysteries appearing, then being explained in great ways many issues later. The first time you read Animal Man, this makes for a real treat.
The omnibus is a little weak toward the middle. Part of that is because you get lots of setup without resolution (though this matters less now that everything is gathered in one volume), but part of this is because Morrison gets overly preachy about animal rights toward the middle of his run -- something that amusingly he acknowledges at the end.
Still, that's a minor complaint. This is one of the best runs of a superhero comic, one of the most coherent runs, and still some of Morrison's best work.
June 5, 2014
This one came so close to a five star review! I had never even heard of Animal Man until I was browsing graphic novels/comics at our local library. Seeing an omnibus, or complete collection, of any comic is always a cause for excitement as I will supposedly get the full story. And that is really true here. You get some really neat stories that all tie together and come to a very interesting conclusion with great artwork supporting the whole thing. The ending was somewhat of a rub for me. While I liked the conclusion, it did get a bit bizarre and dropped my rating by about a half of a star. Still, if you have not met Animal Man and enjoy off beat comics this is a really nice collection.
January 3, 2017
I was sure I'd read this at some point over the years, but turns out I hadn't. This was one of the ground-breaking runs in comics in the late 80s and early 90s and one of the neatest things about it is that once the weird, "meta" things really start happening toward the end, you can go back to the earlier issues and see just how carefully Morrison had it all plotted-out from the very beginning. The artwork is a bit sketchy from our current perspective, but it does the story justice. Glad to finally catch up with this.
May 4, 2025
Surprisingly, not overrated. I figured that there was no way this book could live up to the hype it has received over the years, but I was wrong. This is probably my favourite thing that I've read by Morrison.
August 26, 2016
Sandman y esta joya son los mejores cómics que leí en mi vida, simplemente increíble.
June 29, 2021
Un 3.5 bastante sólido. Grant Morrison deja aquí traslucir tanto lo mejor como lo peor de su estilo. Está el conocimiento enciclopédico, minucioso, de la historia de los cómics, que le permite articular una narración que encapsula tantas épocas en un espacio corto, así como el carácter juguetón, no cínico ni tampoco sentimentalón, que da un ancla a cada número y vuelve a los personajes cercanos al menos, si es que no verosímiles (como ocurre con All-Star Superman). También, sin embargo, el desborde de líneas argumentales, el ritmo confuso, frustrante en varios puntos, de amalgama de ideas no terminadas de calcular, que hace temer en todo momento un tiro que salga por la culata (como ocurre con Batman RIP).
Al final lo bueno sobrepasa a lo malo, tal vez porque Morrison le atina con el final mucho más que, digamos, Unamuno. Es un punto controversial, pero hasta ahora nada me ha hecho cambiar de opinión sobre Niebla, que debe ser la base más obvia para este texto fuera del espacio propio de los cómics. En contraste, Morrison cuenta una mejor historia, donde el elemento metatextual tiene sentido con lo que se cuenta y la ruptura de la cuarta pared se siente mucho más significativa en su propia trivialidad. Me deja satisfecho, finalmente, aun si no encantado.
Al final lo bueno sobrepasa a lo malo, tal vez porque Morrison le atina con el final mucho más que, digamos, Unamuno. Es un punto controversial, pero hasta ahora nada me ha hecho cambiar de opinión sobre Niebla, que debe ser la base más obvia para este texto fuera del espacio propio de los cómics. En contraste, Morrison cuenta una mejor historia, donde el elemento metatextual tiene sentido con lo que se cuenta y la ruptura de la cuarta pared se siente mucho más significativa en su propia trivialidad. Me deja satisfecho, finalmente, aun si no encantado.
December 12, 2020
Creo que es uno de los mejores cómics que se pueden leer. En especial para quienes no acostumbren al género superheroico, es la demostración de hacer algo distinto, de mucha categoría.
Son veintiséis números más un pequeño especial donde Morrison crea, destruye y reconstruye al personaje.
Como en muchas de sus obras se plasman ideas borgeanas.
La construcción es lenta pero no aburre, no sobra nada, muchas pequeñas cosas que están desde el principio son retomadas y usadas con mucho tino para amplificar la lectura.
Es un cómic que dice mucho sobre la cultura, la ecología, transmite un mensaje claro y pocas obras dicen tanto.
Lo meta está muy presente y tiene viñetas que... mejor que sea sorpresa, vale la pena ma lectura para ver cómo siempre se puede dar un paso nuevo, una nueva idea.
Realmente no sabría qué criticarle. Quizás el primer cómic que agarre en caso de incendio.
Son veintiséis números más un pequeño especial donde Morrison crea, destruye y reconstruye al personaje.
Como en muchas de sus obras se plasman ideas borgeanas.
La construcción es lenta pero no aburre, no sobra nada, muchas pequeñas cosas que están desde el principio son retomadas y usadas con mucho tino para amplificar la lectura.
Es un cómic que dice mucho sobre la cultura, la ecología, transmite un mensaje claro y pocas obras dicen tanto.
Lo meta está muy presente y tiene viñetas que... mejor que sea sorpresa, vale la pena ma lectura para ver cómo siempre se puede dar un paso nuevo, una nueva idea.
Realmente no sabría qué criticarle. Quizás el primer cómic que agarre en caso de incendio.
October 10, 2022
Wrzucam do pierwszej ligi superhero, gdzie czeka także "Doom Patrol" tego samego autora. Całość na granicy parodii i poważnego tematu ochrony środowiska. "Animal Man" jest przy tym cudnie abstrakcyjny i nawet, jeśli w tej konkurencji nie sięga wariactw "Najdziwniejszych Bohaterów Świata", to momentami jest blisko. Ta cegiełka ma za to inny szalenie atrakcyjny walor - im bliżej końca, tym jest bardziej meta aż do konfrontacji bohatera z samym Morrisonem. Jestem oczarowany
September 29, 2022
First GM book and I loved it. So many interesting themes and commentary on our society.
Made me a bit depressed at times, but overall this is writing that makes you feel.
Made me a bit depressed at times, but overall this is writing that makes you feel.
August 2, 2025
This book is one of the all-time greatest runs of the medium and it's Grant Morrison's masterpiece. enough said.
December 15, 2022
After you read this story you can't help but think that every single line/panel you just read was 100% pointless. 10/10.
February 25, 2017
If you like meta, this is the comic to read. Grant Morrison began his mainstream career with this 26 issue run on a b-list DC character right after Crisis on Infinite Earths when the whole lineup was shaken up (before that was an annual occurrence like comics today). If you have ever read Grant, you know he is bonkers. Really, that's the best word for it. His writing is always mind bending and stretches outside the box, sometimes to a point where it becomes difficult to understand. Well, that is not the case here.
This is as simple and straightforward a narrative as you get from Morrison, but so, so enjoyable. He gets a bit preachy at times when it comes to animal rights, which becomes a big part of the series, but this is warranted and comes about organically because of the values of the hero. Grant actually criticizes himself for harping on this "soapbox" of his in the last issue of the series. I mean that literally. Grant writes himself into the last issue and reflects on his run as the "creator" of the comic. I will not spoil how this comes about, but the threads of this plot begin early in the series and naturally progress until the big payoff in issue 26.
This is meta goodness!! At one point, Animal Man is walking through comic book limbo of partially pencilled landscapes and meeting obscure characters in the DC lineup that had not been used for decades while carrying a dying monkey who had supposedly been writing the issue holding the script of the issue he is in! (Whew!) At another point you are seeing characters who have become self aware busting through the panels they are in and entering the white space in between the panels! There is even a splash page of Animal Man looking right at the reader and saying "I see you!" Deadpool had not even been created yet, much less breaking the fourth wall. I've read a ton of Deadpool, and I'm a fan, but trust me, he has never broken the fourth wall like this.
It is impossible to talk about this meta storytelling without mentioning the masterfully-written 5th issue of the series "The Coyote Gospel." However, this one-shot story has been discussed so much on the internet that I will leave it to you to lookup. Just google "best one-shot comics ever written" and you will find it. Guaranteed.
Lastly, a mistake many critics make when reviewing Grant Morrison's work is forgetting to give credit to the artists, unless it's Frank Quitely of course! Chas Truog and Doug Hazelwood did a wonderful job capturing these mind bending concepts. I feel it is always a special treat when an artist stays on a run for the writer's entire stay on a character. Ennis and Dillon on Preacher. Snyder and Capullo on Batman. Morrison and Quitely on All-Star Superman. Vaughan and Staples on Saga. Remender and Craig on Deadly Class. The list goes on. A series never has the consistency of one that has the same artist on most of the series. You feel as though you get to live in the same world from start to finish. I wish this was done more in comics.
Well, there you have it. Animal Man is a masterpiece from arguably the greatest comic creator at the start of his career. You get it all. Superheroes, zany outfits, aliens, silver age style writing, witty humor, devastating heartbreak, time travel, and did I mention fourth-wall breaking? Yes. A bit of that. If you like any of these things, read it! You will be surprised how much you enjoy reading about a superhero named Animal Man.
This is as simple and straightforward a narrative as you get from Morrison, but so, so enjoyable. He gets a bit preachy at times when it comes to animal rights, which becomes a big part of the series, but this is warranted and comes about organically because of the values of the hero. Grant actually criticizes himself for harping on this "soapbox" of his in the last issue of the series. I mean that literally. Grant writes himself into the last issue and reflects on his run as the "creator" of the comic. I will not spoil how this comes about, but the threads of this plot begin early in the series and naturally progress until the big payoff in issue 26.
This is meta goodness!! At one point, Animal Man is walking through comic book limbo of partially pencilled landscapes and meeting obscure characters in the DC lineup that had not been used for decades while carrying a dying monkey who had supposedly been writing the issue holding the script of the issue he is in! (Whew!) At another point you are seeing characters who have become self aware busting through the panels they are in and entering the white space in between the panels! There is even a splash page of Animal Man looking right at the reader and saying "I see you!" Deadpool had not even been created yet, much less breaking the fourth wall. I've read a ton of Deadpool, and I'm a fan, but trust me, he has never broken the fourth wall like this.
It is impossible to talk about this meta storytelling without mentioning the masterfully-written 5th issue of the series "The Coyote Gospel." However, this one-shot story has been discussed so much on the internet that I will leave it to you to lookup. Just google "best one-shot comics ever written" and you will find it. Guaranteed.
Lastly, a mistake many critics make when reviewing Grant Morrison's work is forgetting to give credit to the artists, unless it's Frank Quitely of course! Chas Truog and Doug Hazelwood did a wonderful job capturing these mind bending concepts. I feel it is always a special treat when an artist stays on a run for the writer's entire stay on a character. Ennis and Dillon on Preacher. Snyder and Capullo on Batman. Morrison and Quitely on All-Star Superman. Vaughan and Staples on Saga. Remender and Craig on Deadly Class. The list goes on. A series never has the consistency of one that has the same artist on most of the series. You feel as though you get to live in the same world from start to finish. I wish this was done more in comics.
Well, there you have it. Animal Man is a masterpiece from arguably the greatest comic creator at the start of his career. You get it all. Superheroes, zany outfits, aliens, silver age style writing, witty humor, devastating heartbreak, time travel, and did I mention fourth-wall breaking? Yes. A bit of that. If you like any of these things, read it! You will be surprised how much you enjoy reading about a superhero named Animal Man.
June 6, 2015
So, how to talk about this without spoiling it? Basically, you need to read it.
If you've ever read any of Morrison's stuff before, typically there are lots of off the wall ideas and out of the box thinking in a story that barely makes sense, but then at the end it all comes together. I've never figured out if Morrison has it planned out from the beginning or he's magically able to pull random concepts and story elements together and have them make sense.
Either way the story comes to a conclusion that is fairly unique to comics, literally breaking boundaries, and yet somehow it still works, makes sense and is enjoyable. Early on I had some reservations about the direction of the story but rest assured any concerns you have will be addressed (and in a matter you didn't expect.)
Art-wise it was just average to me. It fit the story just fine, and there were a few fill-in artists which weren't too noticeable so it wasn't a jarring change. The Bolland covers were outstanding as well.
Overall, a definite read and one of Morrison's better works.
If you've ever read any of Morrison's stuff before, typically there are lots of off the wall ideas and out of the box thinking in a story that barely makes sense, but then at the end it all comes together. I've never figured out if Morrison has it planned out from the beginning or he's magically able to pull random concepts and story elements together and have them make sense.
Either way the story comes to a conclusion that is fairly unique to comics, literally breaking boundaries, and yet somehow it still works, makes sense and is enjoyable. Early on I had some reservations about the direction of the story but rest assured any concerns you have will be addressed (and in a matter you didn't expect.)
Art-wise it was just average to me. It fit the story just fine, and there were a few fill-in artists which weren't too noticeable so it wasn't a jarring change. The Bolland covers were outstanding as well.
Overall, a definite read and one of Morrison's better works.
March 24, 2015
This was a strange one. Kind of disjointed, bopping back and forth between timelines and parallels and storylines...made the story difficult to follow. Then it went down a morose path from which there seemed to be no return. The author did bring it together by a proclaimed deus ex machina which was not satisfying. The artwork was okay, the color palette was off (pink blood?) and it wore me out when reading. I felt sorry for Animal Man throughout most of it as the author struggled his way through the story, which, we find out, is a companion to the author's story.
March 28, 2021
A story that starts out exceptionally good, then falls a bit flat and delves into classic Morrison craziness with psychedelic trips, aliens and characters from parallel universes, but then completely redeems itself with a perfect ending. As a whole, I loved reading it (except not so much the crazy parts) and I believe that this is one of the best books Morrison's ever written. Great stuff.
November 7, 2014
I remember liking Animal Man way back when they first came out. Re-reading all these years later? Not so much. Didn't even finish the book.
If you're a Grant Morrison fan like I am, you should give this book a shot.
If you're a Grant Morrison fan like I am, you should give this book a shot.
May 11, 2021
I can see you!
October 19, 2022
Grant Morrison was way before his time when it came to Superhero comics. This is meta, but not allienating meta.
Read
November 25, 2025Grant Morrison's run on Animal Man is about a small-time super-hero whose search for meaning brings him to the limits of his own fictional world and to confrontation with his creator. Most of the time I'd roll my eyes at that sort of thing, but a comic veteran like Grant Morrison is one of the few people who can pull it off and make you feel it. It wouldn't work if it were trying to be cute or clever (as many of its imitators do), but its matter-of-fact earnestness and how compelling it is even without the meta elements sell it. It's not setting out to subvert the genre as much as that subversion becomes a natural extension of the creative vision for the run.
The closing panel for the Coyote Gospel issue is basically synecdoche for the whole thing and it's one of my favorite comic panels I can think of. Anyway, here's a list of other things I really like about Grant Morrison's Animal Man:
1. I just like the name "Animal Man." It really rolls off the tongue. I like how characters insist on calling him that even though his identity isn't a secret.
2. Animal powers are really fun! They work by temporarily copying specific abilities from animals. Flight from a bird, strength from a gorilla, regeneration from an earthworm, etc. It's a fun dynamic where what Animal Man can actually do is often dependent on the availability of animals around him and every situation becomes a sort of lateral thinking exercise for him.
3. There's a good sense of space in this comic. I feel like I know the layout of Animal Man's house and what his neighborhood looks like and idk that just really adds something.
4. Mirror Master. I love how there's this cartoonish Scotsman who just happens to be operating on a totally different level of reality to anyone around him. One of my favorite moments in this is when a hitman he's pissed off tries to shoot him and the entire panel just shatters into a black void around the bullet. Were they in a mirror the whole time? Were they ever in a real graveyard? Is it some ethereal mirror dimension, a projection, or an illusion in the gunman's head? Did a lot of setup go into it or can Mirror Master just do that? We'll never know.
5. The way Animal Man's flying is drawn feels so evocative. Maybe it's the grounded settings, his often-emphasized human vulnerability (Animal Man gets injured a lot), or the fact that we're explicitly meant to compare his flight to a bird rather than a speeding bullet that just makes it feel very vivid. You will believe a man can fly!
7. I kind of enjoy how Animal Man can just kill people. I like when he becomes an animal-powered slasher killer taking out the corrupt businessmen who killed his family (who are fine in the end - the family, I mean.)
8. It's subtle but there's a bit of discomfort with the power dynamics inherent to super powers that's interesting. Even when it's totally deserved there's something uncomfortable about indulging in the power fantasy of, say, picking someone up with your bare hands and flying them over the ocean, and that's made explicit here.
You can feel Grant Morrison really interrogating comics as an art form, interrogating the concept of writing fiction at all. Applying the sort of occultist principles that were in vogue with comic writers at the time, and not really come up with a satisfying answer but being honest enough to admit that. When Animal Man turns to the reader and says "I can see you!" I think Grant Morrison really wants to believe on some level that this is true. Animal Man's just a fun read. Will probably keep coming back to it down the line.
The closing panel for the Coyote Gospel issue is basically synecdoche for the whole thing and it's one of my favorite comic panels I can think of. Anyway, here's a list of other things I really like about Grant Morrison's Animal Man:
1. I just like the name "Animal Man." It really rolls off the tongue. I like how characters insist on calling him that even though his identity isn't a secret.
2. Animal powers are really fun! They work by temporarily copying specific abilities from animals. Flight from a bird, strength from a gorilla, regeneration from an earthworm, etc. It's a fun dynamic where what Animal Man can actually do is often dependent on the availability of animals around him and every situation becomes a sort of lateral thinking exercise for him.
3. There's a good sense of space in this comic. I feel like I know the layout of Animal Man's house and what his neighborhood looks like and idk that just really adds something.
4. Mirror Master. I love how there's this cartoonish Scotsman who just happens to be operating on a totally different level of reality to anyone around him. One of my favorite moments in this is when a hitman he's pissed off tries to shoot him and the entire panel just shatters into a black void around the bullet. Were they in a mirror the whole time? Were they ever in a real graveyard? Is it some ethereal mirror dimension, a projection, or an illusion in the gunman's head? Did a lot of setup go into it or can Mirror Master just do that? We'll never know.
5. The way Animal Man's flying is drawn feels so evocative. Maybe it's the grounded settings, his often-emphasized human vulnerability (Animal Man gets injured a lot), or the fact that we're explicitly meant to compare his flight to a bird rather than a speeding bullet that just makes it feel very vivid. You will believe a man can fly!
7. I kind of enjoy how Animal Man can just kill people. I like when he becomes an animal-powered slasher killer taking out the corrupt businessmen who killed his family (who are fine in the end - the family, I mean.)
8. It's subtle but there's a bit of discomfort with the power dynamics inherent to super powers that's interesting. Even when it's totally deserved there's something uncomfortable about indulging in the power fantasy of, say, picking someone up with your bare hands and flying them over the ocean, and that's made explicit here.
You can feel Grant Morrison really interrogating comics as an art form, interrogating the concept of writing fiction at all. Applying the sort of occultist principles that were in vogue with comic writers at the time, and not really come up with a satisfying answer but being honest enough to admit that. When Animal Man turns to the reader and says "I can see you!" I think Grant Morrison really wants to believe on some level that this is true. Animal Man's just a fun read. Will probably keep coming back to it down the line.
This entire review has been hidden because of spoilers.
March 17, 2023
When characters become aware that their reality is fictional it usually undercuts my immersion in the story. The illusion of character is lost and their struggles feel cheapened when blatantly exposed as imagination. Animal Man so deeply intertwines the narrative with its metanarrative that breaking the fourth wall becomes story progression and added to the characterization instead of detracting from it.
The core themes of self determination, obsolescence, and reinvention are creatively explored through the perspective of character, writer, and reader. Real or not we are all at the mercy of forces greater than ourselves so are we really more alive than the characters we read or write? As much as these notions may be total nonsense Morrison put me under his strange spell and made me a believer. What starts as a story about an amateur superhero struggling to find relevance / purpose is slowly built into a commentary on Animal Man's reinvention, DC history, and Morrison himself.
However, it wasn't just the writing that hooked me but also the superb art. Truog and Hazlewood expertly depict the characters with crisp detail that feels almost rotoscoped, expressions depicted as if they were captured on film. Wood's color work is classic, vibrant, and evocative further contributing to the series' bold personality. I love this late 80s / early 90s aesthetic and this is some of the best art direction I've seen of this era. I've had a rocky experience with some other Morrison titles but Animal Man was an absolute pleasure cover to cover. Oh and those beautiful covers! 10/10
The core themes of self determination, obsolescence, and reinvention are creatively explored through the perspective of character, writer, and reader. Real or not we are all at the mercy of forces greater than ourselves so are we really more alive than the characters we read or write? As much as these notions may be total nonsense Morrison put me under his strange spell and made me a believer. What starts as a story about an amateur superhero struggling to find relevance / purpose is slowly built into a commentary on Animal Man's reinvention, DC history, and Morrison himself.
However, it wasn't just the writing that hooked me but also the superb art. Truog and Hazlewood expertly depict the characters with crisp detail that feels almost rotoscoped, expressions depicted as if they were captured on film. Wood's color work is classic, vibrant, and evocative further contributing to the series' bold personality. I love this late 80s / early 90s aesthetic and this is some of the best art direction I've seen of this era. I've had a rocky experience with some other Morrison titles but Animal Man was an absolute pleasure cover to cover. Oh and those beautiful covers! 10/10
August 28, 2020
A giant collection of all twenty-six issues of Grant Morrison’s Animal Man run, this book is a testament to a kind of comic that may never again exist. DC Comics was willing to take chances with its established characters and to let upstart writers do what they wished with them. Morrison uses a B-list character to explore animal rights issues and to comment on the medium of comics itself, and it’s limitations in telling serious stories. He did similar metatextual things with his run on Doom Patrol and, later, his own The Invisibles.
The results here are a bit clunky, with even Morrison (he appears as a character in the book) admitting that it got silly at times. The art, mostly by Chaz Truog, is workmanlike, but serves the story well, grounding Morrison’s more heady ideas with a solid, action-adventure style.
Morrison couldn’t accomplish everything he set out to do with this comic, but even the attempt is impressive.
The results here are a bit clunky, with even Morrison (he appears as a character in the book) admitting that it got silly at times. The art, mostly by Chaz Truog, is workmanlike, but serves the story well, grounding Morrison’s more heady ideas with a solid, action-adventure style.
Morrison couldn’t accomplish everything he set out to do with this comic, but even the attempt is impressive.
April 24, 2021
My first exposure to Grant Morrison’s writing, and I’m now extremely hooked. The existential themes along with the incredibly meta narrative boggled my brain. This is a comic that will stick with me for a long time, I’d imagine. In a field of its own, beyond the typical super hero adventures, this one left me pondering life’s biggest questions.
Morrison’s prose writing is colorfully refreshing and doesn’t hold back. Every character’s inner monologue when shown is brilliantly done, including and especially the one of the Dolphin’s in a particular issue. The art is perfectly stylistic as most comics in the late 80’s, and the classical lettering feels reminiscent of Silver Aged lettering. Both contribute to the whiplash I experience when the book begins to unravel and show its true colors. Seriously I couldn’t recommend this series enough. Brilliant, brilliant, brilliant.
Morrison’s prose writing is colorfully refreshing and doesn’t hold back. Every character’s inner monologue when shown is brilliantly done, including and especially the one of the Dolphin’s in a particular issue. The art is perfectly stylistic as most comics in the late 80’s, and the classical lettering feels reminiscent of Silver Aged lettering. Both contribute to the whiplash I experience when the book begins to unravel and show its true colors. Seriously I couldn’t recommend this series enough. Brilliant, brilliant, brilliant.
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