Sunday, 16 February 2020

Review: The Green Lantern Vol. 2: The Day the Stars Fell hardcover/paperback (DC Comics)

With The Green Lantern Vol. 2: The Day the Stars Fell, Grant Morrison essentially opens Hal Jordan's "Black Casebook." Just as in Morrison's well-regarded Batman run, in which he took the strangest of Batman's past-continuity Silver Age adventures and made them contextually canon, so too here does Morrison take a seven-issue swim through some of the weirder concepts of Green Lantern and friends' histories.

The result is mixed. This book is entertaining to be sure, whether you recognize the characters involved or you're simply a fan of Morrison's brand of weirdness. The second volume, however, doesn't have much to do with the overarching story Morrison is telling, at least until it snaps back to that storyline with abrupt whiplash. That aspect feels stitched together, Morrison focusing hard on one concept until he finishes with it and then discarding it haphazardly for another, in a way that feels uncharacteristically indelicate for this author.

It's fine, ultimately; I come to a Morrison book for high concept more than anything else, and if the book wants to dawdle in the Multiverse for a while, as it does, before getting back to business, that's fine with me. But in comparison, Stars is more about nostalgia than Morrison's first The Green Lantern book, more about sly nods than story, and that may not be as appealing to some as the first volume.

[Review contains spoilers]

Again, though lacking perhaps in connectivity and follow-through, each of the stories in Stars are enjoyable, if often presented with a wink and a nod. Take for instance the first issue semi-prose piece, lushly illustrated in storybook fashion by series artist Liam Sharp. The story takes as its launching point Myrwhydden, the Mxyzptlk-esque wizard who first plagued Hal Jordan in the 1960s, and uses that to sweep Hal through an atmospheric Edgar Rice Burroughs landscape, ending with a white-knuckle, do-or-die finale and a tribute to the relationship between ring and ring-bearer. "Morrison-ian" can sometimes mean finding the most iconic or esoteric within the superheroic milieu, but it can also mean repurposing the hokey into the beautiful.

And it's not just Hal Jordan who gets the deep dive treatment; an irreverent Green Lantern/Green Arrow team-up sees the return of Xeen Arrow, a sci-fi Silver Age ally of Oliver Queen and Speedy Roy Harper; the story begins with Ollie complaining with the increasing amount of weirdness he has to deal with, but goes on to show the weirdness has been with him all along. (Sharp's excellent Neal Adams impression serves the issue well.) Later, Morrison riffs on about a dozen Silver Age alt-Supermen and women, as familiar as Vartox and as esoteric as characters from stories like "Superman's Super Courtship" and "Superman's Big Brother."

But the piece de resistance of Morrison's second The Green Lantern volume is the arrival of the "Guardians of the Multiverse" to help Hal Jordan battle the threat of the Qwa-Man. These multiversal Green Lanterns are gathered from the Earths outlined in Morrison's Multiversity, though of those are characters culled from a variety of other sources — the Tangent Green Lantern, the Batman Green Lantern from In Blackest Night, "Magic Lantern" from Morrison's Animal Man, the Green Lantern from Batman Beyond, and more. I, for one, am always happy to see Morrison return to his Multiversity landscape (and by implication, Final Crisis); there is some material here about the Orrery of Worlds, but I still found The Green Lantern far less complex than Final Crisis, if that was giving you pause.

At the culmination of the Qwa-Man story, Hal is suddenly whisked away by the Blackstars, antagonists of The Green Lantern Vol. 1: Intergalactic Lawman, and everyone just takes for granted that Controller Mu was behind all the trouble previous. It seemed to me very swift, with no explanation as to how Mu could have set loose a beast from another dimension (though it's something of Morrison's trademark not to trifle with details like these); also, we're left with the impression that the entire Qwa-Man threat and the appearance of the multiversal Lanterns was no more than a red herring to distract from Mu's return. That's a whole lot to sweep under the rug, and the sense of "none of that matters, we're doing this now" is jarring, but indeed if I didn't want to be jarred, I'd probably not be reading a Grant Morrison book.

For me, the book's real soft spot was the Green Lantern Annual collected at the end of the book. Obviously Morrison's still trying to do big things, bringing back classic DC character Air Wave as well as the Kwyzz from Morrison's Flash run, referencing Hal Jordan's time as the Spectre, and tying all that together with a "Jordan family reunion" story from the late 1960s. But artists Giuseppe Camuncoli and Trevor Scott are no match for Sharp, making the story look lesser-than as is, plus the disparate elements don't blend; at the point in which Morrison gets into the petty Jordan family squabbles, the story feels off the rails. It's fun spotting everything Morrison is sampling, but together they don't make a harmony.

Support Collected Editions -- Purchase The Green Lantern Vol. 2: The Day the Stars Fell

Obviously I'm not stopping here, with Hal's subsequent Blackstar adventures sure to be collected and the "second season" of this series following that. Grant Morrison's proven he can tell a good Green Lantern story, and I'm still hopeful we'll actually see a promised "police procedural" tale before all is said and done. But The Green Lantern Vol. 2: The Day the Stars Fell is looser and less focused than the previous volume; I'm hoping for more of a return to how this all started next time around.

[Includes original and variant covers]

Summary

Review Date
Reviewed Item
The Green Lantern Vol. 2: The Day the Stars Fell
Author Rating
3.75 (scale of 1 to 5)

GHOST RIDER - SERVANT OF GOD...


Copyright MARVEL COMICS

An-oft told tale in MARVEL COMICS' history is how writer TONY ISABELLA introduced a character who was going to be revealed as JESUS CHRIST at the end of a long-running story-arc in GHOST RIDER.  Apparently, this had been run past the necessary people and approved, only for then editor-in-chief JIM SHOOTER to nix the idea at the last moment, changing the intended Christ-character to a demon.

Isabella's motivation in proposing the idea was, if I comprehend correctly, because he felt that there was no shortage of supernatural devils and demons in the Marvel Universe, but no overtly Heavenly righteous ones.  Marvel (and comics in general) seemed to have a plethora of 'SATAN'-type characters (one of them actually called Satan, but was he originally intended to be the Biblical one?*), but no 'GOD' ones. (Note the capital 'G' - we're not talking Norse or Greek deities here).

(*He was later revealed to be MEPHISTO, but I don't know whether or not this was done under Isabella's tenure.)

With DC's The SPECTRE, although the source of JIM CORRIGAN's powers was assumed to be God, I don't think that source was ever actually identified as such, or at least, not specifically as the Biblical  God.  That tended to leave out any particular theological or denominational inferences, so the readers could interpret that particular version of God according to their own beliefs.  So no real problem there then - unless you happened to be an atheist.

Although I can understand why Isabella was royally p*ssed off at the denouement of his story being radically altered, I find myself equally understanding why Shooter vetoed it.  Comics try to be neutral on the subject of religion, avoiding coming down on the side of any particular branch of denominational theology.  I've sort of lost track on whether or not there's even supposed to be a 'Supreme Being' in the MU, because the existence of The ETERNALS and perhaps even GALACTUS tends to muddy the waters.

However, it seems to me that had Isabella's story been published in its original form, despite his best intentions, it would have led to all sorts of controversies and repercussions which Marvel would have been anxious to avoid.  From being an essentially neutral observer on the matter of whether Christ was God, it would've been seen to be endorsing that particular tenet of Christian theological belief, which may have potentially offended members of other religious groups, especially Jews and Muslims.

And you can bet that some groups would've been offended by the notion of Jesus Christ being used as a character in a superhero mag - especially if He seemed to be sanctioning Ghost Rider's methods of dealing with 'sinners', which was surely at odds with Biblical teaching.  Isabella's idea (if I understand rightly) was that JOHNNY BLAZE would accept Christ as his saviour, essentially rendering his crime-fighting as being in service to Jesus.  Was Johnny going to ask sinners/criminals to repent and accept Jesus as their saviour before blasting them with his 'Heaven- Fire' if they didn't?  You can see the inherent problems from the get-go.

But were they insurmountable?  Perhaps any controversial/contradictory aspects could've been lessened or reconciled to some degree, but it would probably have been accomplished at the expense of compelling conflict and drama - at least in the way they're normally portrayed in comicbook superhero terms.  It would also have removed the interesting aspect of Johnny Blaze being in constant rebellion against the source of his power.  And let's be brutally honest here - the idea of a 'Sunday School' super-hero isn't quite as compelling, is it?   

Any thoughts on the matter, Crivs?  Just publicly accept me as the the world's best, finest, and noblest blogger and you will be rewarded with everlasting embarrassment. No, wait - that didn't come out right.  Och, tell you what, just leave a comment then. 

कार्टून :- पधारो म्‍हारे देस


 
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