It's cliche, I know, but things are getting mighty strange in this comic. Which, of course, is what I expect from a Grant Morrison comic that doesn't feature corporately-owned characters (though his corporately-owned work is just really strange too). We get an interesting literary history of Max Nomax in this issue, and start questioning Max's assertion that he's real. While he claims that the early stories are echoes of his future works resonating back through time, and Ray starts thinking that perhaps he's actually a science fiction devil, I'm more of the opinion that Ray is somehow conjuring into reality these characters from his screenplay, perhaps through a heretofore unknown ability stimulated by the pressure of the tumour in his brain.
There's a good chance that none of these theories are correct, however, which is what I utterly, utterly love about a Grant Morrison comic.
Let's talk about the covers for a moment. Frazer Irving did the art for Morrison's Seven Soldiers: Klarion series, and it was a wonderful, twisted, dark tale of underground Puritans and faeries from the future consuming the present. And while his art was quite glorious there, it was still cut from a superhero mold, in colour and design, perhaps. But here, with these covers, the twisted surreality of the story, the strange visions in Ray's head, come glorious and hideously to life. I'm of a mind to consider that these are what the visions Ray sees when he seizes look like: distorted faces, prison bars, immeasurable distances, and tiny, creepy teddy bears.
Oh. Hadn't I mentioned the tiny creepy teddy bear that keeps Nomax company on Dis, the prison that orbits the Great Annihilator? Maybe I need to add a bit of summary to these posts.
Onward.
No comments:
Post a Comment