Animal Man by Grant Morrison Vol. 4 | Review


Published on Aug 04, 2018


When you speak of the long and complex run of Animal Man, signed by the scot Grant Morrison, the term ‘revolutionary’ is a recurring one. If we evaluate in the context of the period in which it was published, you can actually realize that the definition is appropriate. Up to that moment, in fact, no author had inserted styles post-modern meta-narrative in comics supereroici or, however, not as extreme as that of Grant.

RW Lion has decided to reproduce in the span of the four volumes of these episodes, and those who already know them will know what I mean. Thanks to Grant, Animal Man, distinguished himself as one of the most innovative and experimental of the DC. Supported by the far-sighted Karen Berger, Morrison created a comic book focused on the issues animal welfare and ecological. In principle, however, could not seem conventional, but then the comic-book became more and more particular, as to depart radically from the narrative style of so many other albi DC.

With Animal Man, Morrison not only deepened the issues dear to him, but he also made an acute and profound analysis of the techniques of writing, playing with the imaginary supereroico. In this tp that includes the nn. 21-26 of the cylinder head to original the author resolves all the knots in the narrative were still pending. In the course of the previous numbers, Buddy Baker was forced to face situations that are increasingly dramatic and the climax came with the killing of his wife and children. Somebody acts in the shadows and decided to destroy it psychologically.

It would, perhaps, be an old adversary or maybe a group of ruthless business men who do not see of good eye the animal welfare activism and ecologist Buddy. But if, instead, the response was different? The solution will be unsettling, and when the player will begin to read the final chapter of the series will spot it. Morrison, with the pretext of an experiment, textual and narrative, evokes the universe of the DC pre-Crisis, with a hint of nostalgia.

In this story-line will appear many characters at the time be deleted after the Crisis On Infinite Earths. In practice, the Morrison offers the heroes naive of her childhood, placing them in a context of surrealist and visionary, typical of his inspiration. There are also many references to the artistic, poetic and literary, as well as hints of the psychedelia of the sixties, the LSD, the cut-up of Burroughs and a plethora of creative ideas and inspiration. The result is crazy and disturbing.

With the benefit of hindsight, Animal Man was important, not only for american comics, but to the very evolution of Morrison. Many of the insights present in this run will be taken up in Seven Soldiers of Victory, and in grand fresco of the Multiversity; and some of the concepts here are ahead of the reflections of the wise, Supergods. In other words, the final sequence is anything but ordinary and is a an essential moment of the glorious existence of the comics, the stars and stripes.

The artwork is by Chas Truog, who certainly cannot be called a virtuoso of the pencil. You have to admit that the visual aspect of the Animal Man is not attractive, but it has been so from the beginning. The stretch of Truog is rough and woody, often standardized and not dissimilar to the present in a variety of albi mainstream of the eighties. In any case, it is effective and the penciler depicts in a manner acceptable to the quirky and lysergic environments born from the dissociated mind of Morrison. A work of this kind, however, would have surely deserved a better artist.

The run of Animal Man, however, remains a work milestone comics supereroico and can absolutely not be neglected. The people who read it will be of this opinion. Those who have not yet had the opportunity to do so, you will have an incredible surprise.


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