To me, Grant Morrison is the writerly equivalent of Jack Kirby. Every page is crammed with ideas and weirdness, and even if it all doesn't hang together, or make sense, you feel rewarded just for reading it. They both are dependent on collaborators to help them make sense. Kirby needed a dialogue man to at least make it all somewhat explicable and Morrison needs an artist who can make his stories clearer or at least readable.

Bulleteer was an effort to ask the question, "How interesting would it be to have a super-hero who has her powers, her career, and all her decisions forced upon her by fate--who's so totally passive and disinterested as to just go along with the flow, displaying no personality at all?!?!" And the answer seemed to be, "About what you'd expect."

Frankenstein was great, until the second issue. (No, I'm not being facetious. The first issue, when we see Frankenstein through the eyes of other people, and he's this huge, brilliant, Romantic force of nature with massive weaponry...that was amazing. The subsequent issues, which shifted to his perspective and got inside his head, diminished the interest level a lot. If I were writing this, I'd treat Frankenstein like Gaiman treated Dream in Sandman--never get too close, always make his appearances memorable.)

Mister Miracle seemed to really fundamentally miss the point of what makes an interesting comics story--having Darkseid wander around as a businessman who's a metaphor for the ultimate evil is a lot less exciting than having Darkseid wander around as the ultimate evil who's also a metaphor for the ultimate evil.

Zatanna I didn't mind, although it did strike me as yet another attempt to make the character interesting by "reinventing" her, rather than making the character interesting by actually writing her. (I think this should be dubbed "Power Girl Syndrome".)

Klarion...actually, as I say it, all these series...never gave me a reason to care about the main character. He's a self-obsessed, precious little twerp with a Puritan fetish, and he never really seems to do anything except stare at the world with vaguely contemptuous interest. He's just not a sympathetic character, and that is ultimately a problem if you're trying to make a character who can sustain his own title.

Manhattan Guardian I'll mostly give a pass--it left me cold, but I couldn't tell you why and I think the idea of a tabloid-based series works in theory. (Some of the problem, I think, might have been that it was about here that the continuity references stopped becoming clever to me and started to become oppressive--I felt like every page I read was written for an obsessive DC continuity nerd who understood references I wasn't even picking up. I'm not even sure if some of them were real references, to be honest, but it started getting to me about here.)

Shining Knight, I'd say was probably about the best of them overall, assuming you're able to get past the whole "Justina" thing. Which I can understand long-time fans not being able to do, but I could, because the "tomboy disguises herself as man to be a champion and show that women can fight too" is a classic trope of heroic fiction. Still suffers a bit from not having a proper ending, because of the way it went straight into SSOV #1, but it at least has a likeable, active protagonist who fights bad guys, which is something that most of the other series lacked.

I prepare now for the vicious flames.

Viewing Seven Soldiers more commercially, I would say that it worked as well as, if not more than, any other Grant Morrison mega-project. His fans (myself included) eat it up and digest the bits til they've picked all its nutrition, and anyone else has a gag reaction. That was certainly how New X-Men and the Filth worked, but now there's the bit about his God-of-Comics moniker, so people who would never read his stuff in the first place hear about his greatness and are less-than-impressed. It's understandable, especially considering Seven Soldier's inaccessibility. And even so, it's become a highly regarded superhero comic by the more literary readers, and we could really use more of those, couldn't we, even if that's such a pathetic compliment to have to make.

Vimanarama I had no problem with at all, though Arkham was a bit tough.

It's Mystery Play that really has me stumped.

Kid Eternity felt like it was going to be, but then I realised he just had a really simple basic story, he'd just added way too much window dressing to try and hide that there wasn't much there.