Grant Morrison is on another fucking level

>>93083776
>entry level metafiction every single amateur theatre production has been using since the late 90s
>put it in a comic and you're the industry's greatest genius

>>93083818
>late 90
shakespeare wasn't late 90's
>put it in a comic and you're the industry's greatest genius
that's right. its all about taking a concept an applying it to a new medium

>>93083818
b-b-b-but the characters break the 4th wall!
2deep4u

>>93083776
What's wrong with Carol here

>>93083933
It's her Hypercrisis time of month

>>93083852
What the fuck are you talking about? Shakespeare was meta in poetry, not theater.

>>93083991
Nigga what

The whole point of Midsummer's Night Dream was that it was a commentary on English theatre. There's strong meta themes in Hamlet and The Tempest as well.

>>93083776
The guy writes whatever he wants and whether people like it or not it's unique and he often times does something new or interesting with characters.

He also doesn't have a twitter or social media so the shit slinging never reaches him the one time it did at a con when he got accuse of being politically incorrect he shut that person down (and I can't find the video for it) he clearly gives no fucks.

>>93083852
>shakespeare wasn't late 90's
And Shakespeare generally wasn't using the most obvious, basic "hey you, yeah, you out there!" walk-through-the-aisle thing that is the equivalent of Morrison's only shtick. Besides, if your objection was the age of metafiction in theatre you should probably be citing Athenian comedy, and even then it is probably much older than that.

>>93083852
>applying it to a new medium

He's far from the first to have characters break the fourth wall or use meta fiction in comics,

>>93084090
>Shakespeare generally wasn't using the most obvious, basic "hey you, yeah, you out there!" walk-through-the-aisle thing

Anon...are you retarded? That's exactly what Billy Shakes does in the vast majority of his plays, not that you would've read/seen any of them.

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Damn right Morrison is on another level.

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>>93083866
Wait, did you think the guy you responded to was complementing Morrison, or were you trying to reinforce his opinion?

Anyway, Morrison's stuff is usually hit or miss for me. Arkham Asylum felt like edgy art paired with the actually decent story of the asylum's origin. 52 had some really good bits, but that was a team of 4 writers I think, and I liked We3.
Also, I thought bits of All Star Superman and Flex Mentallo are good. Morrison has good ideas from time to time, he's just way more popular than he is good (so pretty overrated)

>>93083818
>metafiction
Someone hasn't read Prometheus Rising.

>>93083776
what comic is this?

>>93084639
Multiversity: Ultra Comics

>>93084546
Oh, also isn't there a character in Morrison's Xmen run who dies by taking drugs and becoming cosmically aware?

That's like the most Grant Morrison thing I've ever heard. It's hillarious on paper, I have to read to see how it went in context.

>>93084090
>>93083991
have you niggas never read Midsummer Nights Dream?

>>93084546
>>93083776
you should read Peter Milligan or Rick Vietch. I think both of you would enjoy their work.

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>>93084952
Hey, thanks for the recommendations!

Any stories in particular I should check out?

he's a post-punk faggot

>>93085267
Not that other anon, but Shade the Changing Man is what Peter Milligan is most known for, but his best comic is usually considered to be Enigma.

>>93085267
The big lie

He penned the greatest Batman saga of all time.

>>93083776
>>93083818
Mate, Morrison literally takes the mick out of his own writing WITHIN Ultra Comics itself (via the commentary boxes remarking that he's reusing his meta shtick), no need to either suck his dick over it or act like it's somehow a secret.

So if I wanted to read this one specific comic in the OP what should I look for?

>>93089125
Multiversity: Ultra Comics #1

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>>93089154
Thanks.

>>93089168
Stop, anon! The comic is a TRAP. Whatever you do, you must NOT read that comic!

What I love about Morrison's work and why I believe him to be a better writer than many others is how he works with a true sense of love -- a sense of love and imaginative drive that few writers seem to have. He's like a nice, wholesome breakfast compared to a meal from Denny's after a slight Hangover, except his hashbrowns are made of actual hash. Maybe he gets a bit too ambitious, but one can also argue that it is a side-effect of an artist that loves their work so much, that they seek to deliver awesome stories one after another; and one can argue that, for the most part, he often does with satisfactory results. In that regard of his consistent ability to please others through his own love and above adequate (even if only by a slight margin) stories, I feel that he is a good writer who believes in what he is doing.

And if that's not controversial enough, then I'll add on that I consider him as the story-teller Zack Snyder wishes to be. I do not make this statement because of my lack of preference for the other's work, but rather as a revelation I have had concerning the matter. Zack Snyder wants to be mythic with his interpretation of the characters and make the DCEUniverse's films feel gigantic in scale with what he has (or had, I suppose) in mind. He sought to make epic stories too but wanted to keep them real, grounded, and personal. However, he merely had the idea of what he wanted and struggled to see that it was more or less just his ideas being projected to the screen with a poor way of connecting the audience to it. Morrison, on the other hand, knows how to handle epic stories with these characters because he knows them closely. He crafts his stories by making them bold and impressionable whether they be gigantic in their grandeur (All-Star Superman) or relatively fixed and down-to-Earth (Animal Man). Zack Snyder could not do this. He merely projected what he wanted on the screen, and thought that since it was his artistic vision, it should work.