Why did Grant Morrison make the same comic twice?

Why did Grant Morrison make the same comic twice?

Hypercrisis

Because the second was about Max Landis

I've seen around a couple of times that Anihilator was inspired on Max Landis but can i get a get a source or just a bit back story?

Why did OP make the same thread twice?

GMO might be a great one for coming up with concepts, but for plots, he tends to recycle ideas/themes a lot. Final Crisis is just a second pass at Rock of Ages, Happy! is just Batman RIP without Batman. I haven't read Annihilator, but he probably wanted a version of Flex to try to sell to Hollywood (hell, it's put out by LEGENDARY Comics, a production company) that he owned and that didn't have all the Doom Patrol/Charles Atlas baggage.

Came here to post this.

Did you not get enough replies the first time?

Because the second was about Max Landis.

He's a screenwriter, so is the main guy in the comic. Visually he looks kinda like Landis.

Landis also was a guest at Morrisoncon even though Gunn and Morrison thought Max got too pedantic about an argument on the stage.

He's remade Flex like 6-8 times in my opinion, each time to lesser success.
GMo recycles themes A LOT, to the point where people say things like "I knew how Batman R.I.P. was going to end because I read FF4321" or "I knew now Final Crisis was going to end because I read New X-Men" (don't ask me fucking examples, I'm paraphrasing).

The whole fucking stuff about
>Superheroes are like... GODS to us!
and
>NOW is time for bright shiny happy comics because I have vanquished dark papa Moore
has been done about twelve times by GMo, and each time it seems lazier and more desperate.

He did it best with Flex. Four simple issues with great art.
Decades later he's STILL trying it with Final Crisis and Multiversity like
>Ahaha-HA! NOW is the time when I shall vanquish Grim'n'gritty and comics shall be FUN again!

For a guy who thinks he can work magic spells and sigils that control the whole world, he has a remarkably poor track record at changing his own industry, or his own mind

They're nothing alike. I didn't like Annihilator much.

>Why did Grant Morrison make the same comic twice?
>Why did OP make the same thread twice?

H Y P E R C R I S I S

Was that recorded or behind closed doors?

Don't forget about that one time he re-made Flex Mentallo for kids, Joe The Barbarian

Is there another one i'm missing?

I'm a pretty big GMO fan, but yeah you're not wrong.

Because he can only tell like 3 stories. He's gone back to the well on the Flex premise multiple times.

Arguably he did Final Crisis the first time with Zenith. Then again in Avengers/Secret Wars where he used Hickman as his Medium.

>Then again in Avengers/Secret Wars where he used Hickman as his Medium.
!

>secret wars was just a crisis
Holy shit.

The truth is there.

Johnathan Hickman is just a stand-in for several writers taking turns at writing stories they can't for whatever reason, which is why all his stories fall apart in the third act.

I wish, Morrison at least has the courtesy the finish what he starts. Hickmans best stuff just sits there on eternal hiatus and sometimes even gets stealth-cancelled.

Looking at you S.H.I.E.D. and Manhattan Projects.

Eh, at least he's still better than Alan "Rape And Stolen Classic Literature" Moore.

Max spread the news himself cause he wants people to believe his excentric. Morrison is probably going along as a favor. And thematically they touch upon similar things but Mentallo works on more levels.

I honestly don't get why people like him so much. I read Pax Romana and Nightly of his stories and was really annoyed that they all got me interested and then ended blandly.

nope

>Writer works with similar themeing across their body of work.

woah

What the fuck kind of schizophrenic version of similarity are you operating with here?
Are these different comics supposed to similar in your head because they all involve situations that could either be interpreted as supernatural or the consequence of mundane perception warping factor like drugs, mental illness, hypoglycemia, brain tumor, near death experience, etc?
That's a characteristic style, not a reused plot.
You might as well complain that multiple David Foster Wallace stories use excessive self-conscious detail and footnotes, or that multiple David Lynch movies use disjointed dream-like structure and inexplicable supernatural forces manipulating lost souls in crisis.
That's what all good artists have, a style.
Shit artists produce random self-contained stories that don't deepen any ongoing cross-work themes.

>Manhattan Projects
That was a really poorly done comic anyway.
The whole "X is a genius, X is not a genius" spiel and the shitting on actually really interesting real life topics like the development of the atom bomb as somehow just a "boring" cover story for the supernatural garbage they were spending their time on was cringe as fuck.
There was a huge disparity between my expectations and what that comic actually turned out like.

Don't forget when he re-made Flex Mentallo and no one read it.

Again, completely different.
Flex Mentallo, The Invisibles, and The Filth all exemplify the Grant Morrison style of characters having weird supernatural seeming adventures that could also be explained in terms of warped perception of one or more character, but that isn't the same thing as saying they all told the same story.
Flex Mentallo was an exploration of his four ages of comics theory (Golden Age, Silver Age, Dark Age, and Metafictional / Postmodern) and the protagonist was a musician not sure if he wanted to commit suicide or not experiencing a drug induced adventure story about a superhero he came up with as a kid.
The Invisibles was about all the magical aspects of reality that are hidden as negative space in the regular world which the story's two opposing factions both use against each other in a fight for control of collective humanity's evolution from its larval form to its adult form.
The Filth was about the illusory nature of identity and society and how even though we're molded into roles like disposable fodder for the social machine there's still room to find meaning and experience love, like the love the protagonist had for his cat.
You're a brainlet supreme if you didn't get distinct experiences from each of those comics and just clung to the most shallow of interpretations that they all had unreliable narrators and can be read either as supernatural or the product of an altered state of consciousness.

Don't forget when he made Flex Mentallo, but with Batman.

That's an even bigger stretch than all the other bullshit you've tried to conflate so far.
If anything Return of Bruce Wayne was a character reconstruction, like All Star Superman or Klaus.

Don't forget when he made Flex Mentallo with Santa Claus.

No.
We get it, you're taking every single comic he's done and posting the same retarded meme line. Go do something more interesting with your evening. Maybe take your gf to dinner or take your dog for a walk on a nature trail.

Yeah it showed how the Marvel heroes are pretty much incapable of dealing with a crisis

Don't forget about that one time he re-made Flex Mentallo for kids, Joe The Barbarian

Someone already mentioned Joe the Barbarian here:
Pay attention you autist.

Also Joe wasn't suicidal, he was just a type 1 diabetic who forgot to keep up with his sugar intake and started slipping in and out of a diabetic coma.

Don't forget about that one time he re-made Flex Mentallo for kids, Joe The Barbarian.

he mad

Yeah I'm mad, this complaint is retarded.
Having a recurring theme is a good thing. I'd much rather read a bunch of works exploring a recurring theme in depth than read a bunch of works containing random different shallow new stories with no connection to each other.

Don't forget when he made Flex Mentallo with Flex Mentallo.

OH SHIT!!

>stars up the side
Is there a reason for this?

Fuck, forgot pic

I always thought he looked like Johnny Depp with Rey (given his body of work) as his Tim Burton.

Does being correct matter if you can only manage to do so autistically and cause everyone to hate you in the process?

>Being wrong is OK if you make everyone like you.
??????????
At least you're admitting you're wrong I guess?

>a writer working with reocurring themes because of familiarity = a writer rehashing the exact same concepts, patterns and plotlines multiple times because muh 2deep4u
I hope you never try to become a writer if you think this is great writing

>or that multiple David Lynch movies use disjointed dream-like structure and inexplicable supernatural forces manipulating lost souls in crisis. That's what all good artists have, a style.
Oh look, he pulled a David Lynch comparison.
As if David Lynch exploring similar themes under different structures, characters and settings, and spending a lifetime trying to not be defined by the impact of Eraserhead and Twin Peaks is the same thing as Grant Morrison rehashing exact plotlines and statements multiple times in a row with different coats of paint (neither of which constitute an actual style)

H Y P E R C R I S I S

I am actually fine with Grant Morrison redoing the same idea (likewise for Alan Moore) as it seems like these are topics they really like that can be retold in different ways. If we see tons of the same old superhero, horror, slice of life stories being retold, why can't meta-fiction itself be a genre that can be explored in different stories.

Do you try to be like this?

There's a couple of recurring themes that are present in literally every Morrison work but other than that and the 4th wall breaking (which is a shallow point of comparison) I think they are pretty different. Annihilator has barely anything to do with comic books (With some of the source material for the main character being the exception), it's almost entirely about Hollywood and movie scripts. Annihilator is ridiculously edgy while Flex is about cape optimism saving the day and helping overcome depression.

I'll never forgive him for wasting Murphy's art on such a shit story

Enigma is better than anything Morrison has ever done

What does OP even mean?

Pretty gay bro.

I would get angry as well but there hasn't been a single story that Murphy made the art for that wasn't shitty. What a fucking blunder.

>I hope you never try to become a writer if you think this is great writing

I don't think Morrison is some sort of legend or anything, but I'm also not retarded enough to take the opinions of anons on Sup Forums seriously.

Which was least shitty?

Was just thinking the same thing amigo

>there hasn't been a single story that Murphy made the art for that wasn't shitty.

No... That can't be right, can it? I mean, I can't really think of one right now, admittedly. I remember a Batman one about meeting The Scarecrow for the first time. I don't remember if that one was good or not. He did a couple of Hellblazer arcs and a mini, I think. I don't remember if any of that was good, but I think I recall someone fucking the corpse of a dog or something?

No wonder White Knight is so bad. That's all he's ever gotten a chance to work with.

It's really a borderline crime to have such a good artist chained down with disgusting scripts. Even worse when he's being the writter as well, Punk Rock Jesus was humiliating to read.

Well let's see his list of credits from wiki to see what else he did:


Crush (with Jason Hall, 4-issue mini-series and TPB, Dark Horse Comics, 2003)
Batman/Scarecrow: Year One (with Bruce Jones, 2-issue mini-series, DC Comics, 2005)
Off Road (script and art, graphic novel, Oni Press, 2005)
Shaun of the Dead #3-4 (inks, with writer Chris Ryall and pencils and some inks by Zach Howard, 4-issue mini-series and TPB, IDW Publishing, 2006)
Outer Orbit (co-writer/co-artist/colorist, with Zach Howard, 4-issue mini-series, Dark Horse Comics, 2006 – 2007)
Hellblazer: #245-246: "Newcastle Calling" (with Jason Aaron, Vertigo, 2008)
Grip (with David VonAllman, Marvel Comics, forthcoming)
Joe the Barbarian (with Grant Morrison, 8-issue limited series, Vertigo, March 2010 – present, harcover, February 2011, ISBN 1-4012-2971-9)
Hellblazer: City of Demons (with Si Spencer, five-issue limited series, Vertigo, December 2010 – present, tpb, May 2011, ISBN 1-4012-3153-5)
American Vampire: Survival of the Fittest (with Scott Snyder, five-issue limited series, Vertigo, August 2011 – December 2011)
Punk Rock Jesus (script and art, six-issue limited series, Vertigo, July 2012 – January 2013)
The Wake (with Scott Snyder, ten-issue limited series, Vertigo, June 2013 – July 2014)
Chrononauts (with Mark Millar, four-issue limited series, Image Comics, March 2015 - June 2015)
Tokyo Ghost (with Rick Remender and Matt Hollingsworth, Image Comics, September 2015 – July 2016)[13][14]

Cafe Racer was pretty good.

Bad thread.