Tag Archives: Shade the Changing Man

Upgrade or Downgrade? Animal Man Omnibus

2 Dec

by Mike Hansen

Animal Man OmnibusOkay, this is gonna be a quick one, since I’ve been away… I’ve been recovering from a rather inconvenient surgery (minor skin cancer, fortunately quite curable), so apologies for my infrequent posting over the last few months. One of the few things I’ve been able to do easily over the past several weeks has been to FINALLY organize my comics collection, so expect a lot more stuff in the near future. Onward!

The Animal Man Omnibus is 99% perfect. The story contents remain an essential touchstone for mainstream comics’ transition to more mature and deconstructionist material, and made Grant Morrison (The Invisibles, All-Star Superman, New X-Men, Doom Patrol, Batman, JLA, etc.) one of comics’ biggest names. (John Byrne did a fun, goofy take on a main character that knows it’s a fictional comic-book character in Sensational She-Hulk, which was published at about the same time as this Animal Man material – but Byrne’s mastery of old-school, 1960s/70s-inspired comics storytelling hasn’t received the same accolades as Morrison’s innovations.)

Secret Origins #39 cover

A missing Animal Man piece that’s finally been reprinted.

THE GOOD: This book features Grant Morrison’s entire run on Animal Man, including Animal Man #1-26 and a story from Secret Origins #39. Morrison took a ridiculous character (a guy in orange tights who gains the powers of animals) and built the perfect story around him, one that breaks down the entire idea of the role of superhero stories. The story is a must-read for anyone who appreciates a mature take on the frankly immature superhero concept, and has a permanent place in comics history.

Extras include all Continue reading

A tribute to Karen Berger and Vertigo

4 Dec

by Mike Hansen

Even though this news was expected for a while, it’s still a gut-punch now that it’s happened.

From today’s DC press release:

Karen Berger, Executive Editor & Senior Vice President of DC Entertainment’s Vertigo brand, has announced she is stepping down from her post after nearly 20 years at the helm of the award-winning literary imprint. She will remain on through March 2013 where she will be assisting in the transition to a new leadership team which includes veteran staffers whom she has mentored over the years.

First off: congratulations to Ms. Berger for her decades of amazing work in comics. She remains one of the best working comics editors (along with Bob Schreck, Diana Schutz, and a very short list of others). Few editors in comics history have had such a range of success or depth of influence. I’m eager to learn where she lands and what she does next: the sky truly is the limit.

I owe a lot of my evolution as a comics reader to Berger and the Vertigo line. For most of the 1980s, I was a Marvel zombie. The only reason I branched out of superhero comics was thanks to Archie Goodwin’s Epic Comics line at Marvel, with Groo the Wanderer and Elfquest first getting my money only because of the Marvel name on the cover. Those titles led me to search out other non-superhero material, and by the end of the ’80s I was a dedicated reader of titles like Usagi Yojimbo, Teenage Mutant Ninja Turtles, Aliens, and more.

But as wonderful as those titles were, at that point there were still few comics titles that had the literary aspirations that I was unknowingly missing. There were plenty of other terrific comics out there, but many of them were still seen as “underground” at that point (like most of Fantagraphics’ amazing output), and I was still a few years away from finally discovering essential material like Alan Moore’s Swamp Thing and Matt Wagner’s Grendel. But the Vertigo line arrived at the perfect time, as an antidote to the Image Comics revolution that led to often poorly written and edited Image titles, and several years’ worth of even worse Image ripoffs from Marvel and DC.

Thanks to a well-marketed launch effort, I gave Vertigo a shot for the same reason that I’d given Epic a shot years earlier: this was a major effort at non-superhero comics from one of America’s biggest comics publishers (though DC, like Marvel, was and is focused almost exclusively on superhero properties). I tried almost all of those initial Vertigo books (Sandman, Death: The High Cost of Living, Shade the Changing Man, Swamp Thing, Doom Patrol, Enigma, Sandman Mystery Theatre, Hellblazer), and after that first month of eye-opening work I never looked back. (It probably helped that Vertigo debuted right as I was transitioning from high school to college!)

The sophistication and quality of the Vertigo launch led me to try many other publishers’ non-superhero comics in a way that Marvel’s Epic never had (probably in part because of my age and the era): Bone, Strangers in Paradise, Madman, Sin City, Cerebus, Beanworld, The Crow, Flaming Carrot, The Dirty Pair, Milk and Cheese, Martha Washington… it was a whole new Golden Age of comics, and Vertigo opened my eyes to it. (I was lucky to live near a comics shop that carried virtually every comic published every month – it was a great time to be a comics reader.)

And oh, man – the titles that Vertigo published over the years: The Invisibles, Preacher, Transmetropolitan, We3, Fables, The Unwritten, 100 Bullets, Y: The Last Man, Stardust, Kill Your Boyfriend, Seekers: Into the Mystery, The Filth, Goddess, reprints of Moonshadow and Blood: A Tale, and so many more blew my mind over and over. I am absolutely filled with gratitude for Berger, her impeccable taste in comics, and her talent at mentoring other editors to maintain the line’s quality.

DC tried creating Continue reading

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