Zenith is really good but man, Morrison has had the same interests

Most people's sense of self identity is complete by the time they're in their mid twenties, so it makes sense.

>>78018190
Read JLA.

>>78018864
I've read everything Morrison's written except for Zenith (almost done), his other British work, and some of his lesser Vertigo stuff.

It's good, I love him, but he has very repetitive motifs.

well yeah, but that's ok

>>78018968
So? Most authors settle on themes and concepts that intrigue them and revisit them across their career.

It might help to name creators who don't have clear interests that they keep coming back to again and again.

>>78018968
>It's good, I love him, but he has very repetitive motifs.

Yeah and? Ellis, Ennis, Millar, have very repetitive motifs to name a few. You'll see this with a lot of writers.

>>78019887
But they don't do the exact same scenario over and over (Superheroes of a multiverse attacked by lovecraftian horrors)

Or do they?

>>78019887
Well, maybe the British Invasion is overrated, to be honest.

>>78019940
Neither does Morrison. That really only describes a few of his many works.

Besides, that's not exactly Morrison's thing. Morrison's thing is that there really isn't any difference between reality and fiction, and we only think there is because of our limited perception. Most of his work touches on that in some way.

>>78019983
It's not just British writers.

>>78019940
>But they don't do the exact same scenario over and over (Superheroes of a multiverse attacked by lovecraftian horrors)

If that's "same scenario over and over" then you might as well be complaining about Ellis having a complaining protagonist who knows more than everyone who may or may not be chain-smoking. Or Ennis writing about drinking and male camaraderie.

>>78020136
Well, let's think about non-British creators who are up there among "the greats".

Miller, Sim, Eisner, Giraud, they have all been known for changing and evolving over the years (for better or for worse) rather than staying stagnant like, say, Morrison.

This is a silly criteria to judge a creator by.

Moebius, widely hailed as one of the greatest creators of the last century, focused heavily on surreal sci-fi/fantasy work. He clearly had types of stories and motiffs he enjoyed working on, to the point that saying Moebius's name conjures up a certain style and type of story.

There's nothing wrong with a creator having interests they focus on. I'd say it's probably the default for creators, actually. Very few creators are all over the place without overarching themes or patterns in what they do.

>>78019940

All writers have that. Claremont loves mind control and slave stories to a point where it is a clear personal fetish of his. Greg Rucka's writing is almost a cliche when it comes to writing strong independent women. Warren Ellis has a giant technology boner and he keeps inserting his ideas into poorly veiled stories all the time. In Grant's case when he's writing great multiverse spanning lovecraftian type evil forces because that is pretty much the ultimate evil that superheroes that can bend time and space can fight against and Grant loves big, spectacular ideas and concepts clashing against each other, after all, in his mind Superheroes are essentially humanity's metatextual way to survive and evolve as a species, we've created something that is better and more perfect than us so that we could strive to be like them.

>>78020201
>Miller

If you're talking about art, then yes he's changed over the years. I like it even though other people don't. But writing-wise? He's arguably as or more stagnant than Morrison. And I find Miller's writing more entertaining than a lot of other comics writers.

>>78020201
>rather than staying stagnant like, say, Morrison.

Using similar themes is not the same thing as being stagnant. Grant gravitates to the same things because his career has largely been writing superhero comics and the genre constraints are very obvious.

>>78020224
It's 2015, and you have the benefit of absorbing all of Moebius at once and mashing it all together in your brain until it's one thick soup of sameness.

But if you look at the dates when you're reading the comics, you can actually track his growth and see how Moebius of the fifties/sixties (cowboys and injuns) is a different man than Moebius of the seventies (half-joking scifi/fantasy) and Moebius of the eighties/nineties (serious scifi/fantasy about spiritual enlightenment) and Moebius of the aughts (weird semi-autobiographical experimentation).

>>78019940

It's the same over and over again, yes. But I don't mind, because he usually finds interesting new ways to illustrate that idea. Sometimes not. Multiversity was completely unnecessary aside from being a love-letter to the DCU. All ideas were already conveyed in Final Crisis. Nameless on the other hand is relatively new territory for him and something fresh, even if it's a story about Lovecraftian horrors descending upon us and threatening our free will.

>>78020201
Isn't it kind of questionable to compare writer/artists to someone who primarily does writing only?

>>78018968
At least he hasn't built a career on race mixing fiction and ambibitiously white waifus or on taking established characters and re-imagining them with edgy Hawkman-tier origin stories.

>>78020353
>getting Moebius and Jodorovsky mixed up

>Moebius of the fifties/ninties (cowboys and injuns)
>Moebius of the seventies (half-joking scifi/fantasy) and
>and Moebius of the aughts (weird semi-autobiographical experimentation).
This is Moebius. Also he never quit working on Blueberry after he took over the series.

>Moebius of the eighties/nineties (serious scifi/fantasy about spiritual enlightenment)
This is Jodorovsky with Moebius doing the art.

You also missunderstand how French comics work - pretty much everybody's using pen names and they normally switch to a different one whenever they write something that's out of line with their "regular" output. Moebius used at least three.
That culture of pen-names doesn't exist for Anglo comic book writers, which necessarily much leads to the sort of narrow branding in terms of themes, I guess.

>>78018190
He's had no new ideas for 30 years now.

Drug abuse will do that to you.

A lot of your feelings and interpretations on this subject will be heavily subjective, but overall I agree with OP.

Personally, I'm burned out on the "prototypical" Morrison comic. I can't go back and re-read Flex (as in actually READ it, I still periodically pull it off the shelf and read 2-3 panels at a time just to enjoy Quitely) or Zenith or and Multiversity was a chore for me.

And I personally don't have this problem with say, Ennis. I really liked the first issue of Johnny Red, it didn't make me feel like I was reading a remix of a previous war story he'd written, despite obvious and clear parallels you could draw to his past bibliography. It was a different take on say the idea of WW2 Soldiers of different factions meeting. Framing device was also quite neat. Anyways, like I said personal preference. It was definitely in the same flavour, but a different story. Whereas Morrison's tuff often has the same flavour AND a story that feels the same with scant superficial differences. But when he works outside capes he produces more novel stuff. Nameless was pretty great.

Anyways, personal preference, like I said.

>>78022403
>This is Jodorovsky with Moebius doing the art.
You're ignoring the multiple books of the Aedena Cycle

But you're point about psuedonyms/pen names/nom de plume's is very well made.

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>First issue of Klaus
This spread right here reminds me way too much of Ultra Comics' introduction. I love it, sure. But it's so fucking MORRISON. Hell, the scene involves Klaus using music.

Dude seems so desperate to bring out this big mind-blowing message to the readers, and he shoves meaning and metaphors into every fucking scene.

I couldn't even fucking read through this comic without half a day later realising Klaus is a metaphor for how modern people are ruining Christmas. The baron's son represents the tablet/vg generation: He yells about how every toy is boring, how he wants 'little people' (virtual characters) to boss around and the kicker is that he actually just wants to play outside with other children but is forbidden from doing so. I'm pretty sure there's a big ass poetic stance of Morrison behind the baron and his son torturing the baron's wife who just wants a strong, caring nature man.

Just...Fuck you, Morrison. I love your work, but fuuuuuuuuuuuuuuuuck you.

Love Moz but Zenith really highlights how he has written the same story over and over for 30 years. It's a good story but it really shows how he reuses the same plot a lot.

>>78025386
Klaus reads like a Zenescope comic IMO. And a movie pitch. Morrison really wants that sweet, sweet Hollywood money.

>>78025534
> And a movie pitch
It did partly put me in mind of the recent lot "adult" or "gritty" retellings of fairy tales.

Not that fairy tales haven't always had dark origins or whatever, but it is quite recent that we've turned them into pouty Twilight or action-packed black leather clad witch-hunting movies.

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>>78025534
>>78025617
I'll be honest, I'd probably enjoy Klaus as a(n animated) movie. Probably more so than as a comic.
>What kind of song is he playing?

I love the art though, a lot of characters look insanely attractive. (Klaus, Baron's wife...Baron's son no I'm not proud of that one...)

>Morrison has had the same interests for like 30 years now

Don't most artists really only have a handful of ideas they're constantly going at?

>>78025804
Yeah, like Alan Moore just hates his audience, Frank Cho will always love T&A and Bendis will never ever fucking improve in any way whatsoever the bald fucking fuck.

>>78025838
If you'll try expanding your tastes to encompass more than only superheroes, then Alan Moore won't hate you.

>>78020136
>>78020201
>>78020118
>>78019887
Almost all writers who stick primarily to capes have repetitive motifs and just do what they're good at. Moore is the only one who actually switches things up and has range, which is why he's the best of them.

>>78025886
So mostly things that Europe churns out?

Nice taste, Mr. Moore.

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>>78026309
You should broaden your horizons, to be honest.

Here are some comics that Moore recommends.

Please note that this is an incomplete list, missing quite a few recommendations, including non-European comics like Madman and American Splendor.

Yeah. You are right. Morrison can do more themes but he only ever sticks to the same concept when working on cape comics.