Warren Ellis channels Michael Moorcock at his loopiest (there's a definite flavor of Jerry Cornelius here) to give us a reboot / follow-up to Alan MooWarren Ellis channels Michael Moorcock at his loopiest (there's a definite flavor of Jerry Cornelius here) to give us a reboot / follow-up to Alan Moore's run on Supreme from the 90s. That last bit is important, because without a familiarity of Alan Moore's take on Rob Liefeld's Superman rip-off, I doubt a lick of this would have made any sense.
Moore introduced the concept of the "Supremacy," the place where all the past versions of Supreme (groovy 60s Supreme, Dark 90s Supreme, etc) reside after each metafictional "revision" rewrites the history of the character and his world. Blue Rose runs with the idea that the most recent revision of the character went wrong, the world is now broken, and Supreme himself is missing. It's all very clever and Tula Lotay's art effectively plays with the idea of there being something fundamentally wrong with the world, but Ellis never sells any kind of emotional connection to the characters or why we should care what happens in the end....more
Rick Remender is a purveyor of what I often think of as "misery porn" - putting characters through one ringer after another, squeezing the knot tighteRick Remender is a purveyor of what I often think of as "misery porn" - putting characters through one ringer after another, squeezing the knot tighter and tighter until you think their situations can't get any worse... and then it does. Remender gets away with this because he's got a knack for creating characters you can actually care about, no matter how much misery gets heaped on their lives (see Fear Agent).
That's the case again here in Low, but this book (if you read the letters page in the monthly issues) is actually Remender's commentary on this very issue. The defining characteristic of his protagonist is her unshakable hope in the face of overwhelming odds as the human race itself approaches its inevitable end.
Greg Tocchini's art gives a surreal, dreamy haze appropriate to a story set in the murky depths of the ocean (where the last dregs of humanity survive). In keeping with the theme of humanity's last days, there is quite a lot of debauchery along with quite a bit of gratuitous nudity. You won't hear me complain, but others might....more
What a fun little time capsule of Star Trek history. Of course I'd heard about Ellison's original script for this episode and knew that it was out theWhat a fun little time capsule of Star Trek history. Of course I'd heard about Ellison's original script for this episode and knew that it was out there in screenplay form, but I'd never actually read it. What I also didn't know was that this original screenplay was written before any actual episodes of Star Trek had ever aired. As such, there are a million little things that we would never have had on the show - drug dealers on the Enterprise and a kick-ass Rand, for a couple of examples. McCoy's absence sticks out like a faulty warp nacelle, and Kirk and Spock's interactions veer further away from the close camaraderie we're all used to. Still, this is an intriguing insight into the series that might have been, brought to life by the ever-talented J.K. Woodward....more
Holy Macaroni, if that wasn't the single most appropriate use of a "Parental Advisory" warning I've ever seen in my life. If you've read it, you'll knHoly Macaroni, if that wasn't the single most appropriate use of a "Parental Advisory" warning I've ever seen in my life. If you've read it, you'll know exactly what scene I'm talking about. I'd have never guessed that the "edgy" Alan Moore of Watchmen and V for Vendetta was really a watered-down version of the bat$#!t bloody Alan Moore of his early career.
Moore, sorry, "The Original Author" is sure sticking with his 'supermen as monsters' thesis, but he also lets Michael Moran's humanity show through the Miracleman in this volume as well. Maybe the monstrosity is just as human as well?...more