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CSBG Archive

2012 Top 100 Comic Book Runs #14-12

You voted, now here are the results of your votes for your favorite comic book creator runs of all-time! We’ll be revealing three runs a day for the rest of the month. Here is a master list of all of the runs revealed so far.

Here’s the next three runs…

14. Marv Wolfman and George Perez’s New Teen Titans – 560 points (13 first place votes)

Wolfman – New Teen Titans #1-40, Tales of the New Teen Titans #41-50, New Teen Titans #1-5 (co-wrote #6) plus three Annuals
Perez – New Teen Titans #1-5, 6-34, 37-40, Tales of the New Teen Titans #41-50, New Teen Titans #1-5 (co-wrote #6) plus three Annuals

Marv Wolfman left Marvel in the late 70s over a contract dispute, and he came to DC with the mindset of bringing some of the Marvel style of comics to DC, and that’s just what he did when he teamed up with George Pérez to do the New Teen Titans (a book Wolfman had worked on in the past).

First, they introduced three significant new characters, the alien Starfire, the robotic Cyborg and the half-demon Raven. They also changed Changeling enough that he was essentially a new character. Pairing these heroes up with Robin, Wonder Girl and Kid Flash as the holdovers, and they had one of the most consistent superhero lineups in comic history (more or less the entire lineup stood in place for their whole run on New Teen Titans, with Kid Flash leaving four years in).

Perez’s detailed art was a delight to readers, especially as he was able to draw so many of the issues, giving him an amazing run on the title 6-34? In the 1980s? With THAT detail? That’s nuts!

But probably the biggest part of the book was the soap opera feel that Wolfman gave the title, in the same way that Chris Claremont was doing a soap opera-esque feel on the X-Men, the clear counterpart to the New Teen Titans.

Soon, the title was the highest-selling DC title, and I believe in the early goings was even out-selling the X-Men (I’m almost positive, actually, that it outsold Uncanny X-Men at least until 1981, at which point X-Men took off and left them in the dust, but that’s neither here nor there).

In the second issue, Wolfman and Perez created one of DC’s best villains, Deathstroke the Terminator.

Later on, they allowed Robin to graduate to a new identity, they introduced the anti-Kitty Pryde, Terra, they added Deathstroke’s son, Jericho, to the team and a lot of other stuff. It was all really quite good, and very soap opera-y! Especially the “special moment” issues, like the story about runaways getting involved in a drug ring, which was so powerful that they were hired to do a special Anti-Drugs giveaway comic that must have been read by, like, a gazillion schoolchildren in the 80s.

Powerful stuff, especially in the context of the times.

The pair eventually launched a new Teen Titans title, but Perez left to work on the mini-series (that Wolfman wrote) Crisis on Infinite Earths, and that was it for the run, although Perez would return four years later for a quick reunion run.

13. Grant Morrison’s New X-Men – 584 points (9 first place votes)

New X-Men #114-154, plus an Annual

Marvel was in bankruptcy when they hired Grant Morrison to become the main X-Men writer, and they basically gave him total freedom to do what he wanted, and what he wanted to do was to make some major changes in the title, from eliminating the traditional costumes (going with a “leather jackets” look), which is similar to what the movies did, to making Beast look like the Beast from the famous Jean Cocteau film from the 1940s, adding Emma Frost to the X-Men having it be revealed that home sapiens were on the verge of extinction and, of course, introducing a new bad guy named Cassandra Nova who systematically leads to the Sentinels destroying the mutant population of Genosha…

And that was just the first story arc!!!

After there, Morrison kept the pace quick and the new characters a-plenty, from Xorn, Angel, Beak and the Stepford Cuckoos to John Sublime, Fantomex and Kid Omega.

Story continues below

The book was set-up as a sort of homage to Chris Claremont and John Byrne’s run, in that Morrison would attempt to address the same stories they did, just in a different manner. They had a Sentinel story? Morrison would do a Sentinel story. They had a Shi’ar story? Morrison would do a Shi’ar story. And so on and so forth.

Sadly, the amazing artwork of Frank Quitely, which was meant to be a regular feature on the comic, only showed up about 15 of the 40 issues (if that), and the “regular” backup artist, Ethan Van Sciver, also only did a couple of issues. This led to fill-in artist Igor Kordey being forced to draw some quiiiiiiick comic books, and the result is some ugly looking artwork at times (not Kordey’s fault, of course, as he had VERY little time to get the books out), which is a shame, as the stories were top-drawer.

Morrison’s final story arc (set in the present) was a big Magneto story where Morrison mocked the very nature of comic cycles of death and resurrection. He also killed off a few characters, and had Emma Frost and Scott Summers end up together.

The final arc, period, was set in the future, drawn by Marc Silvestri.

12. Grant Morrison’s JLA – 607 points (7 first place votes)

Morrison – JLA #1-17, 22-26, 28-31, 34, 36-41, plus a #1,000,000 and a Secret Files

Way back when Keith Giffen began work on the relaunched Justice League title in 1987, he wanted to do a “big gun” Justice League – Batman, Wonder Woman, Superman, Green Lantern – the whole nine yards.

They told him no.

He could have Batman, and that’s it (and even Batman was taken from him soon after).

That was much the case for the rest of the tenure of the Justice League International – Superman was accessible when Dan Jurgenes was writing the book, but afterwards, nope. Wonder Woman was accessible for a good long while, but that was it. In 1996, Peter David even did an issue of Aquaman where Aquaman specifically said he would not join the League.

However, outside of Giffen, Giffen’s take on the League was not particularly popular, so when DC was debating on how to revamp the title, they finally caved in – Grant Morrison could have the “Big Guns” League, and it turned out to be one of the best decisions DC made in the 1990s.

With the JLA, Morrison basically invented the widescreen action comic (which Authority probably perfected, but with much less famous characters), as each Morrison arc was a BIG…DRAMATIC…ACTION EPIC!!! It was his ode to the Silver Age, where the Justice League would go on bizarre adventures all the time, only with modern comics, Morrison (and artist Howard Porter) were able to do everything BIGGER than they did back in the 60s, and it resonated with fans, making JLA the most popular superhero comic at DC, taking a franchise that was in the pits and making it relevant again.

Perhaps most importantly, Morrison had a story where he used the Blue Superman and did something COOL with him, which is probably the most impressive part of Morrison’s whole run.


This really was not some deep comic book, it was pure entertainment, but it was well-written, well-executed entertainment that created a practical cottage industry of tie-ins for DC.


Heh, #11 is Morrison’s Batman, isn’t it?

I’ve never read Morrison’s JLA, but would love to dig into it.

His New X-Men run was fantastic, with Quitely (the scene when Smasher falls to Earth!) and Bachalo (Weapon X as in ten, not “x”!!) being my favorite of his collaborators. And at the time, I was ready to hate it because I absolutely loved the end of Lobdell’s run. But everyone did such a good job on New X-Men that it won me over almost immediately.

I never read that JLA run, but didn’t anyone ever tell Morrisson that opposite magnetic charges/poles ATTRACT? (hasn’t he ever actually held a magnet?) Superman would have brought them closer together…

I voted JLA for 2nd place. It’s the run that got me into comics, even though I think Morrison’s two most enjoyable JLA stories (Ultramarine Corps and Earth 2) aren’t included in this run.

I’m surprised Morrison’s Batman might crack the top ten, I won’t argue its probably one of the most ambitious comic runs ever.

If all of the top 13 are Morrison runs, I think I’ll come.

Here’s two more of my picks.

Morrison’s New X-men is my absolute favorite longform comic book work of the past decade. My appreciation for it only grows as the years wane on. I love that current great writers like Remender and Jason Aaron share my enthusiasm for this great run and it’s many ideas and characters, and are still using and evolving those concepts over a decade later.

Morrison’s JLA is the best big blockbuster widescreen superheroics out there. What separates it from everybody else is the excellent pacing matched with it’s quicksilver characterization and marathon of ideas. This is the kind of run where the first issue of a mega story arc will have the JLA vs a virtual reality shadow version of the group and using innovative tactics to take them down; ya know, just as an appetizer! Every other JLA book in comparison just seems pedestrian and small in comparison.

Damn X/Morrison fans >:(

I actually have yet to read much of the Wolfman/Perez NTT. I used to have the first volume of the NTT archives, and it was pretty good, but I went no further into their run. It’s a pretty glaring omission for someone was well-read in DC books as I am.
Morrison’s “New X-Men” is one of the very few runs that made me pick up an X-Men book again. I didn’t get to finish the run because of some issues that cropped up around the mid-point, however, and I’ve never actually gotten the trades of the rest. I really need to finish it!
Morrison’s “JLA” was on my list, so that’s at least 4/10 for me so far(possibly more, since there were a couple that I couldn’t remember made my list for certain). This is easily one of the five greatest runs on any superhero book ever, and the only other superhero team book that is on even footing with it is Morrison’s own “Doom Patrol.” This is the book that pulled me back into comics after financial, and other, issues forced me to stop buying them for a year or two in the mid-’90s. It was very good timing, as I got to experience that wonderful era at DC, one of my favorite points in any comic company’s history. There were so many great books, and Morrison’s “JLA” was my gateway to all of that. For that alone, it would have a special place in my heart, but the fantastic quality of the book propelled it into the stratosphere. I don’t loathe the current Jl series as so many here do, but in 14 issues, it hasn’t contained as many ideas or stirred aywhere near the same level of emotions that Morrison managed with any random issue or two from his run. “JLA” is superhero comics at their very best.

New Teen Titans: I give Wolfman & Perez credit for their craft and ambition, and I applaud their attempts at tackling social issues. Perez’s art is fantastic, from the innovative layouts to the fine detail work. I think this run hasn’t aged well, but that’s okay. A lot of comics, even great ones, become less readable over time.

Morrison’s New X-Men: I love how Morrison advanced mutant culture, portrayed younger characters, and played with old X-Men tropes. Quitely’s art was great, and I wish he’d have drawn more. That said, Bachalo, Jimenez, Van Scriver, and Leon & Sienkiewicz were good choices for fill-ins/replacements. I can see some of the flaws of the run now (including plot lines like the human extinction that didn’t work), but I still appreciate what Morrison did and wish Marvel hadn’t backed away from his work.

JLA: Another favorite, at least until the Priometheus arc. Morrison & Porter killed it on the super-hero action. Morrison made me like Kyle Rayner, the Huntress, Connor Hawke, and Steel, character’s who meant nothing to me at the time. “Rock of Ages” & Earth 2 remain my favorite Justice League stories. The later issues didn’t work as well for me (except the Sandman 2-parter), but there were still good moments.

Not to excuse him or the editor, but Morrison has admitted the positive/ negative mistake. It never should have been published, though.

Teen Titans is awesome. Just flat out awesome. I could honestly have seen that run making the top 10 even. Nice to see it ranked so high.

Morrison’s X-Men… I don’t see the appeal. It was like the unnecessarily weird version of his much better JLA run.

Morrison’s JLA run deserves to be somewhere or other on the list if only because he took a team with the worst Green Lantern, the worst version of Aquaman, the worst version of Superman, and made it work. That’s impressive right there.

For what it’s worth, Quitely drew ten issues of New X-Men, Van Sciver worked on four (with an assist by Tom Derenick on one of those), and Kordey drew seven. JP Leon did two, Phil Jimenez did nine, Keron Grant did one, Chris Bachalo and Marc Silvestri each did four, and Lenil Yu drew the annual.

So, surprisingly enough, Quitely actually worked on more issues of Morrison’s X-Men run than any other individual artist.

I just friggin’ love the sample pages used for JLA. That was one of the specific sequences I used to show people to get across how awesome JLA is. For pretty much any other series, that would be the climax of the story arc. For Morrison, it was page 6.

New Teen Titans I haven’t read much of, but all the Perez/Thangal art is beyond gorgeous and the “Who is Donna Troy?” issue is one of my favorite single issues ever.

I loved loved loved Morrison’s New X-Men right up until the big twist/reveal, which I still think is completely illogical and almost nonsensical, subtext that cannot be reconciled with the text. Still, it’s my favorite thing of his after All-Star Superman.

His JLA is fun enough, but I never felt that it was really about anything. Just a bunch of stuff happening.

Morrison’s JLA was masterful. You really got a sense of a teeming, densely packed universe existing just outside the edges of the panels, and just outside the edges of the stories, and overflowing into both. Reading it was like being on a wild rollercoaster that itself was built into a car on an even wilder (and much larger) rollercoaster!

JLA is one of my votes. I’ve never read a popcorn flick-comic as good as this. It even made Superman Blue cool (which was quite a feat). It introduced the woefully underrated Zauriel, created amazingly reality-bending threats like Mageddon – and PROMETHEUS! In fact, World War III is one of my favorite JLA stories ever. The team was massive, cosmic, godlike… exactly what the JLA is meant to be. The Watchtower was like Olympus – I couldn’t get enough of it. I loved Oracle being in the role she had, I loved Steel actually serving a use for once outside of his own comic, I loved Huntress getting her ass booted from the team, I loved Triumph wreaking havoc with a freaking pen, I loved a boxing glove arrow defeating a villain in the Watchtower, I loved how Morrison got his baby Animal Man to save the day in his final storyline…. I just loved this comic for what it was.

Not a huge fan of either Titans or New X-Men, though I own both in all of the trades I could find. Titans was all about Perez’s art for me, and New X-Men was just about staring at whatever Emma Frost wasn’t wearing that issue. But I pick them up again from time to time, so I say that’s a success.

Teen Titans – I’m currently reading this digitally, and, I gotta, it’s really refreshing to read such densely plotted in single issues. Team books have suffered the most from decompression nowadays (with the notable exception of Uncanny X-Force), and this manages to cram so much unique character interaction into small spaces, granted with a lot of blunt dialogue. Then again, Marv Wolfman definitely isn’t Chris Claremont. Compare this to something like the current Justice League title, which took nearly five issues to unite the whole team, while Wolfman did it in the first 8 pages of New Teen Titans #1. Also, gotta give them credit for upgrading Robin to Nightwing.

New X-Men – I find myself more and more intrigued by how the X-Men stories I like are the ones that seem to have vanished into non-continuity. And Grant Morrison did finally manage to take away what I always felt was the least interesting part of the X-mythos (mutants standing in for minorities) and make something new and engaging out of it. It was less about using metaphors and analogies to try and lend stories more weight, and more about actually examining the fascinating concept of a human society of supermen. Instead of trying to use mutation to reflect the current times we lived in, Morrison upgraded it into something more of speculative fiction, examining the world as run by mutants, with their own subculture and problems we couldn’t experience (is it unethical to have an affair in a telepath’s mind? Only if you’re stupid enough not to realize that you’re wife is a telepath). All joking aside, it was a fantastic grand sci-fi soap opera with excellent ideas and (mostly) excellent art.

JLA – I don’t get why everyone calls this shallow story telling. At a glance it certainly does appear to be nothing but action, but there’s a lot of character work being done beneath the surface. After all, how many people finally started to accept Kyle Rayner because of this? This is really how you do constant, blockbuster action, by making the intensity revolve around building tension (in this case around Morrison’s high concepts) as opposed to trying to payoff with spectacle. The only other time I think I read a superhero book that managed to do that was Sinestro Corps War, and Johns always talks about how Morrison influenced him.

3 great runs. Morrison’s NXM might be my favorite run of the 21st century. JLA is almost as good. I don’t think I’ve read all of Teen Titans, but I’ve read most of it and I’ve really enjoyed it, although it wouldn’t be as high.

Another fine day at Grant Morrison Book Resources, where hacks are praised.

Take it up with your peers; I’m sure every one of them that voted for these runs can’t wait to hear how your critical acumen is far superior to theirs…

I think JLA is the second on my list to make it (with a lot more to come in the top ten, I’m guessing).

Like some posters above, JLA was what got me back into comic-collecting in the 90s. I picked up the first issue on a whim and was hooked immediately. Loved the fast-paced action, but also that characterization was conveyed so efficiently and entertainingly in the dialogue during said action. It’s the run that made me a superhero fan again.

Actually, his New X-Men was the run that made me an X-Men fan again, but it didn’t quite make my list…

Mostly read Teen Titans in back-issues, and still pick up some gap-filling issues from time to time. I agree that it hasn’t aged that great, but it definitely had some great stories, villains, and terrific artwork.

So this was a good batch!

Whenever I see the New X-men comics, I think of poor Igor Kordey and his comments on the experience. He did his best to be a ‘company man’ and got slaughtered for it. It made me reconsider my opinions on what artists ‘sucked’, for sure.

They put him in an impossible situation, and he delivered. Probably the worst thing that could have happened to his American career, as his reputation has never recovered.

His Euro albums are pretty damn nice, btw.

So yeah, the editors are the villains, who’s suprised?

I read through all of Wolfman & Perez’s NTT a few years ago for the first time (I had only read individual issues here and there before) and while it was…okay…I mostly walked away from it underwhelmed. I can seee the appeal, definitely, as well as why it was so popular back in its day. Perez’s artwork is just stunning. But Wolfman’s writing, while fitting for its day, didn’t work for me now. It was much too melodramatic and purple prosey to me, with some of the team’s internal conflicts coming across as too arbitrary, when a simple conversation would have cleared up the whole situation. Some issues, such as “Who Is Donna Troy?”, the climax of “The Judas Contract”, the marriage issue of Donna and Terry Long and the “Trial of Deathstroke” multi-parter all hold up very well and are prime examples of superhero comics done right. But too much of the run just didn’t click with me overall.

Morrison’s JLA I need to re-read as I haven’t done so since its original run in the 90’s. Porter’s artwork always seemed a little stiff to me, but the “big concepts” that Morrison was going for in his plots were very entertaining, and the “I know what you are” moment with Batman from issues #3-4 ranks up there as one of my all-time favorite moments in comics.

Morrison’s X-Men I just recently picked up in Omnibus form and, if anything, it reads even better now than it did back in 2001 or so. Yes, the inconsistency in the artwork hinders the book, but Morrison’s sheer inventiveness was/is such a breath of fresh air in the book, which at that point had lingered in the depths of mediocrity since about 1990 or so. Plus, Morrison gave us Scott and Emma as a couple, who are still one of my favorite poairings in all of comics…

Morrison’s JLA run has aged better than the NTT run has, but back when it was monthly, NTT made me a Dick Grayson fan for life.

I also think Kordey got shafted here… I really liked his work on Cable, then they got him to do a rush job on some issues of New X-Men, some of which was ugly (because it was a rush job), and now he’s got this stigma for drawing ugly art. Also, he was the wrong fit from the beginning. He would be much better on a war book or maybe a Vertigo-type thing.

Morrison was on fire with those 2 runs. They were both great, but I’d give preference to his New X-men work. But back in those days (and years leading up to it), I was a huge X-Men fan. I know Kordey gets cained for his issues, but I loved them! More so then EVS without a doubt. It was his Xtreme X-Men work after (was that the name??) that was shocking! But I blame the inker for that!! :)

Never got into the Titans.

3 runs I’ve read every issue of. And while I didn’t vote for any of them, I do admire all of them.

Titans- some of the writing hasn’t aged particularly well, but if you understand the context, it’s easy to see why this book was so loved and influential. And Perez’s art will always look great until the end of time. I love Who is Donna Troy, and the Judas Contract, but I also think some of the unheralded stories are among the best. Like Starfire’s battle with her sister, which was a great space epic, and the Adrian Chase saga. And I agree with a previous poster that Wolfman made people care about Dick Grayson. Prior to this, the character had been around for 40 years, and who knows whether anyone even liked him. But ever since this run, Dick Grayson has consistently been one of the best characters in comics. And I also think the DC trend (well, pre-Didio era) of having their characters evolve, change identities, die, etc. really began here, with NTT #39 and the abandoning of the Robin & Kid Flash identities for Dick and Wally. In a real sense, I think this run created the path for what DC would be as a company for the next 20+ years.

New X-Men – I like this run but don’t love it. There are parts that I think work really well and parts that I don’t think work very well. And there are elements of it that I find very disappointing. I guess the way I would describe the run is remarkably rich in ideas and concepts, but somewhat sub-standard in story-telling follow through (which is the way I feel about a lot of Morrison’s 21st century work).

JLA- The last time I truly loved a Morrison work, this was my favorite comic for most of my high school years when it was coming out. Particularly the first 17 issues, before Morrison took his first break, were among the highlights of my early comic reading years. For many people, myself included, this run sort of scratched an itch we didn’t know was there, like we’d always wanted to see super-heroes written like this, but didn’t even realize it. Two of my all-time favorite comic book moments are in this run, when Batman lights the ring of fire around the white Martians and says “Ready when you are,” and when Superman fights the angel (“Yield!” “Never!”) and Wally says “This is the guy who doesn’t think he can live up to his myth? He’s wrestling an angel.” I still get nerd goosebumps when I reread those scenes. And on a different note, this run was the first time I felt like DC truly committed to Kyle Rayner being THE Green Lantern. I’ll always remember the scene in #22 when Daniel (the new Sandman) says to him “You already know that which your predecessor never could. Fear. You will surpass him.” I remember reading that and thinking that finally Kyle wasn’t just the new guy anymore, that he really was GL, as much as Wally really was the Flash. I think in an irrational sort of way, I’ve always resented Geoff Johns a bit for making that “You will surpass him” line untrue.

I was wondering how much would skew later on this poll. My expectation was that, if it didn’t, that the top two would end up being the Claremont / Byrne run on X-Men that produced The Dark Phoenix Saga and the Wolfman / Perez run on NTT that produced The Judas Contract.

But at least the NTT run made it here.

Wolfman/Perez New Teen Titans 2012: #14, 560 points
Wolfman/Perez New Teen Titans 2008: #11, 643 points
Down 3 places, -83 points

Morrison’s New X-Men 2012: #13, 584 points
Morrison’s New X-Men 2008: #10, 701 points
Down 3 places, -117 points

Morrison’s JLA 2012: #12, 607 points
Morrison/Porter JLA 2008: #12, 574 points
No change, +33 points

(While the 2012 entry drops Porter in favor of emphasizing Morrison, the Morrison run of episodes in both entries is the same, so I think they’re comparable.)

Morrison’s JLA holds steady from the 2008 vote, and even manages to gain points. This would seem to firmly cement the run’s status as a classic, or at least something the CSBG voters love.

The other two entries are classics that are gently sliding down the list, probably predicting larger drops in future votes. Both drop exactly three slots on the list, and lose around 100 points. I suppose you could argue that both New Teen Titans and New X-Men are works that defined an era, and remain relevant despite their very contemporary nature.

I remember that back in the early Eighties there were only two DC comic-books that I thought were consistently worth a damn – Legion of Super-Heroes was one, New Teen Titans was the other. NTT did feel a lot like the X-Men, which was a plus for me, and that gorgeous Perez artwork… stunning! That said, I didn’t actually vote for it, mainly because I never owned many of the issues themselves (back then I had a friend who collected them, so I read his) and therefore haven’t really had a chance to reread them. I have vague memories of being blown away by the team getting involved in a war between the Olympian gods and the Titans – I need to find those back-issues.

Got full runs of all three of these, and I actually voted for the Wolfman/Perez Titans run. As a schoolboy in the early 1980s, I loved those comics!

That means that at long last, a second item from my ballot has finally materialized within the Top 100! (I was originally expecting 3 more to do the same thing, for a total of 5 out of 10, but now I’m wondering if I might only get a total of 4 out of 10 instead.)

Never in a million years would I have voted for the Grant Morrison X-Men run, however.

Morrison’s X-Men is higher than Claremont’s X-Men?

That is just wrong.

Rusty, I think Claremont’s X-Men has been counted separately from the Claremont/Byrne (which I voted for), so I expect the Claremont/Byrne run to make an appearance shortly.

I haven’t read nearly enough of Teen Titans, which is something I need to remedy.

I’m the odd X-Men fan who has no strong feelings for Morrison’s X-Men work. There’s some stuff I like (the Cyclops/Emma pairing, the opening of the school, the Xorn reveal) and stuff I didn’t like (Sublime, secondary mutations, ranting Silver Age Magneto). It was certainly well executed and entertaining, even when the art suffered, but I have no real strong feelings about it either way.

Morrison’s JLA, however, I absolutely love. Easily my favorite work of his: filled with big ideas but still entertaining and fun to read. The gold standard of Justice League comics for me.

That shot of Superman in JLA is the first thing I go to when people say Superman Blue was lame – seriously, Grant Morrison made it work, why couldn’t other writers? And props to Howard Porter, he was not only a heavy hitter on that book from day 1, but he was 1 of like 3 guys who always made Superman Blue look bad ass, with the leaking energy and whatnot. Thank you for using this particular example Brian! :)

I love Morrison’s JLA, but not his New X-Men so much. NTT is in my top 5. Best. Artwork. Ever.

Sparked by this result, I’m rereading Morrison’s JLA. In the first part of the Key two-parter, Batman’s dream world includes the line “As long as Gotham needs us, Batman and Robin will never die!” :D

Ed (A Different One)

October 31, 2012 at 1:32 pm

My only lament – that the great scene where Superman was fighting the angel (“Yield!” “Never!”) was the blue Superman and not the iconic red, blue and yellow one.

I mean, Superman is fighting an angel for God’s sake! At least let it be the version that everyone grew up with and is instantly recognizable all over the globe!

And before anyone jumps on me – I know it wasn’t G’Mozz’s fault. I blame it on DC Editorial . . .

Three unbelievable runs. Best JLA ever for the reasons cited as well as small moments. Grant was at his most coherent, but the big ideas were still there…and it was occasionally laugh out loud funny. It really came together in issues 3-7 when he really got his hands into what made each character tick. He made fun of Aquaman’s status a decade before Johns recent revelation, while making him a bad ass. Soooo good.

“Oh. and Fish and Man”

I remember taking reading DC Comics Presents 26 until it fell apart, and every NTT issue after that…changed the game until they went to the direct market and I couldn’t get them at my convenience store anymore. Amazing…and the little concepts that they introduced in addition to the social issues…the “day in the life” issue; their mini series that dealt with them as human beings; the Gordanians; Trigon; Blackfire…looking at the other runs on this list; they introduced more concepts than most…not Kirby/Lee but still at a pace that far outstrips comics today.

What I’ve read of NTT is good, but nothing that’s a favorite.

New X-Men’s opening arc was SOOO good. The rest of the run is really good too. I haven’t re-read it in ages, though, so it didn’t make my list.

JLA was great, what I’ve read. I’ve gotten the entirety of GMozz’s run, save a couple issues I can read from the library. As much as it was about big damn ‘splosion stuff, there were also some great character bits, like what others have pointed out. Great run.

Interesting that these Morrison runs place this high with relatively few #1 votes. People like them a lot, but not a whole lot of people like them bestest, I guess.

It doesn’t detract from the run, but this points out the one thing that I didn’t like about his X-Men run (though others disagree) in that it turned the Marvel Universe from the one outside your window to a complete fantasy world. I mean it is, there are no superheroes. But rather than them being a strange pocket in the normal lives of people, you had a world were mutants were taking over. And it’s hard for them to be a downtrodden minority when there’s so many of them, and each one has the power of 10,000 normal people. One of the few things I think Bendis did right was “no more mutants”. I am still not a fan of the Beast Beast. Seems tired, and his previous blue form is still striking to me. But a great run no doubt.

Both that and JLA seem very typical Morrison that they start off incredibly strong, and meander towards the end. But maybe that’s just because the his first JLA story might be the best ever written. I don’t know that allowing him to use the Big Guns was completely as a break off from Giffen though. There were a LOT of very mediocre Jurgens and Gerald Jones issues between the end of the Bwah-ha-ha days and the relaunch. And they involved guys like Superman and Green Lantern. Morrison just had a great take on the characters. He saw each super hero team as representing something different, and for them to work you needed to play to that strength. The Avengers were a football team. The FF was a family. The X-Men were a school. And the JLA were the pantheon of gods. So the comparison to Olympus and all that made above was spot on. He even had them broken down in their roles. Superman as the Zeus/air god figure. Batman as Hades. Aquaman as Poseidon. He even took it to the smaller characters he introduced, like Steel being the Hephaestus stand in.

Compare the big Alex Ross projects at each company. Marvels tries to give a more human eye view of their super heroes. Kingdom Come has them as the archtypes they are. Morrison got it. And while I think the later stories might have made it slip just outside my top ten, it’s a deserving run.

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