"The Multiversity" #2 has Grant Morrison and Ivan Reis bring the universe hopping saga to a close and, while it's satisfying, it's not quite at the heights that some of the individual issues achieved.
Full review here.
"The Multiversity" #2 has Grant Morrison and Ivan Reis bring the universe hopping saga to a close and, while it's satisfying, it's not quite at the heights that some of the individual issues achieved.
Full review here.
"With any other creative team, this would be jaw-dropping. From people as talented as Morrison and Reis, it's merely strong."
Does that mean it's because Morrison &/or Reis are beholden to a higher standard?
Seems like a back-handed compliment or humble brag.
Might be, honestly if someone like Lobdell produced this then people would like have **** their pants from amazement. But since its Morrison its strong finish to strong series.
I assumed it was because other issues in the series are stronger, and so make the conclusion look lesser by comparison. When you compare it to Pax Americana or Thunderworld or Ultra Comics it's not quite as strong.
But frankly - that's Morrison. His endings are often weak when compared to his beginnings and his middle chapters. He's written like that for a long time - brilliant beginnings and stories full of weird and wonderful ideas, and then when he wants to end it it just kind of ends. Multiversity actually has a strong ending for a Morrison event book - it feels like he actually got to write the final issue he wanted and say what he wanted to say here (compare it to Final Crisis, which I love, but whose last issue was clearly an "OMG I've run out of space and I have a ton of stuff to tie off and there are still some editorial mandates I didn't get in there so here's three issues worth of events that we're going to shove into a single issue and just make it all work" issue).
It does fall a little short when compared to Seven Soldiers 1, Final Crisis 7, All Star Superman, or even Invisibles 1. Those just were so full of ideas and craziness, this was much more standard compared to those. SS and FC in particular were near-perfect Morrison to me. Do they feel "rushed"? Of course, they are "imperfect" comics, but yet they are some of the greatest comic issues of all time. This... was actually more of conclusion than I expected, a pretty straightforward "good guys defeat the bad guys" premise. I pretty much exactly agree with the review and its score. (4/5)
I've never felt that. With any Morrison comic I can think of.
Especially here, I think this last issue was way stronger and more enjoyable than the very first, very pro forma issue. But, New X-Men, JLA, Doom Patrol, and especially The Invisibles all end stronger, bigger, cooler and smarter than they started, even though they all started pretty strong.
It does seem like the comics in Multiversity that some people disliked the most are the ones where the enemy couldn't really be (and therefore was not) punched into submission. The Marvels could deck the Sivanas and did. Damian and Kon-El couldn't punch suicide and arrest ennui. Overman can't victory-slam a future built on bones and blood. And the multiversal hero team can't smack down imagination imagining new dangers and confrontations for them.
"What power triumphs over sheer absurdity?!?"
Patsy Walker on TV! Patsy Walker in new comics! Patsy Walker in your brain! And Jessica Jones is the new Nancy! (Oh, and read the Comics Cube.)
What the hell was that?! I feel COMPLETELY ripped off. This reminds me of Lost (tv), where Morrison promised, promised, promised, laying on layers of complication, only to just end it all without explaining anything. BIG time pissed off.
This is worth a re-read just to figure out what happened.
The Gypsies had no home. The Doors had no bass.
Does our reality determine our fiction or does our fiction determine our reality?
Whenever the question comes up about who some mysterious person is or who is behind something the answer will always be Frank Stallone.
"This isn't a locking the barn doors after the horses ran way situation this is a burn the barn down after the horses ran away situation."
Patsy Walker on TV! Patsy Walker in new comics! Patsy Walker in your brain! And Jessica Jones is the new Nancy! (Oh, and read the Comics Cube.)
The simple explanation is everything in multiverstiy comes from dc writers.
It was a non-ending. So the whole point of all this world hopping was to pay a guys rent bill?! Who were the gentry, why did they speak in leet speak? What were the threats from inside the bleed?
So there is a bigger Bad behind the whole thing that would lead to another "Crisis-crossover" down the road. Yawn. And who was the Gothic Scripted narrator of this book?
I guess I'll wait for the annotations since this was more a meta-commentary than a comic book story.
And, to save lives, save universes, save us. They saved Nix from being a slave to horrible demons. They saved universes from being jacked up.
Monster servants to an ultracosmic being testing universes by assaulting them with threats and rebranding them when their concepts gets boring.
Intellectron speaks like Prince liner notes crossed with a jerk, because that's kinda how pseudo-intellectual bullies sound.
Monsters. Which we've seen in comics before, but also in the very first issue of The Multiversity. Sometimes a monster is just a monster, like King Kong is usually just a big gorilla not a representation of lust gone wrong or the revenge against imperialism or whatever.
Patsy Walker on TV! Patsy Walker in new comics! Patsy Walker in your brain! And Jessica Jones is the new Nancy! (Oh, and read the Comics Cube.)
So the Gentry were corporate, and the monitor is the comic writer? Little bit too meta considering the scope of the thing.
Last edited by Anjohl; 05-07-2015 at 08:59 AM.