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NATIONAL BESTSELLER
What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us About Being Human
Superman, Batman, Wonder Woman, Iron Man, and the X-Men—the list of names as familiar as our own. They are on our movie and television screens, in our videogames and in our dreams. But what are they trying to tell us? For Grant Morrison, one of the most acclaimed writers in the world of comics, these heroes are powerful archetypes who reflect and predict the course of human existence: Through them we tell the story of ourselves. In this exhilarating work of a lifetime, Morrison draws on art, archetypes, and his own astonishing journeys through this shadow universe to provide the first true history of our great modern myth: the superhero.
Now with a new Afterword
- Sales Rank: #126547 in Books
- Published on: 2012-06-26
- Released on: 2012-06-26
- Original language: English
- Number of items: 1
- Dimensions: 7.98" h x .98" w x 5.18" l, .79 pounds
- Binding: Paperback
- 480 pages
Amazon.com Review
Amazon Best Books of the Month, July 2011: According to Supergods, Superman comics say less about Superman than they do about Clark Kent. Superman was conceived as a symbol of strength and individualism for the Depression-era middle class--perhaps a more compelling portrait of the era than much literature of the time. But this is just one of the many superhero mythologies author Grant Morrison unpacks to give colorful historical and cultural context. Morrison, a prolific comics storyteller with a career spanning 20 years writing for both Marvel and DC Comics, may be the world's most qualified superhero scholar. (Morrison's reinvention of the Man of Steel, the All Star Superman series, is arguably the best comic of the past decade.) But Supergods isn't a book that appeals strictly to fanboys. Like his comics, Morrison's prose is swift yet powerful, and it's the broader strokes of the Supergods narrative that resonate most. The book succeeds at being a great history of comic books over the past century, but it's an even more convincing exploration of humankind as a whole. --Kevin Nguyen
Review
“Seventy years of superhero history with erudite analysis and autobiography thrown in—an account of what it’s like to plunge your brain into these fictional universes for decades, refusing to come up for air.”—Rolling Stone
“Morrison writes with such flair, humor and insight that Supergods may be the season’s most winning exploration of pop culture and the creative process.”—San Francisco Chronicle
“A personal and erudite history of the medium by one of its most intelligent and articulate practitioners . . . Morrison lays out the history of comics with infectious passion and amusement.”—Financial Times
“A blast, a pure hit of hero worship and deep understanding of comics as mind expansion . . . It’s hard not to be swept up in [Morrison’s] vision.”—Austin American-Statesman
“The perfect textbook for fanboys and the mainstream alike.”—USA Today
About the Author
Grant Morrison is one of the most popular and acclaimed contemporary writers of any genre. His long list of credits as a comic-book writer include JLA, New X-Men, Seven Soldiers, Animal Man, Doom Patrol, The Invisibles, We3, The Filth, and Batman: Arkham Asylum, the bestselling original graphic novel of all time. He is also an award-winning playwright and screenwriter.
Most helpful customer reviews
34 of 35 people found the following review helpful.
Part theory, part autobiography. A grand summation of personal and artistic experimentation
By Erik Ketzan
Who should buy Supergods? Some of the negative reviews below are from readers complaining that this book isn't what they thought it was. To clarify: Supergods is partly a history and critical analysis of the superhero concept and partly Grant Morrison's autobiography as an artist. There are dozens, perhaps a hundred pages in the book that analyze key superhero comic book classics (Watchmen, The Dark Knight Returns, various Golden Age and Silver Age classics), so if you haven't read those yet, start there. Also, in my opinion there's little point in reading a writer's biography if you haven't read some of their best works. For Morrison, the best to start with are Arkham Asylum, All Star Superman, We3, and The Invisibles, (while fans of longer, more traditional superhero series may want to check out his bestselling runs on New X-Men, JLA, and Batman). Readers already well-versed in superhero comics and particularly readers already familiar with Morrison's unique brand of cerebral, trippy, idea-filled fiction will get the most from Supergods.
About half the book traces the history of the comic book superhero, from its creation in the Golden Age of comics through its multiple (and discrete) evolutions in the '50s, '60s, '70s, '80s, '90s, and '00s. Morrison analyzes key superhero comics at length, and his dissections of their creative origins, meaning, psychological underpinnings and relation to their times are generally fun and interesting. I sometimes skipped his descriptions of comics I haven't yet read. Morrison brings his best insights to sustained explications of The Dark Knight Returns and Watchmen, and although these masterpieces have been analyzed to death by commentators over the past two decades, Morrison's analyses are surprisingly fresh and original. I've read Watchmen half a dozen times and Morrison points out a number of things I never noticed or considered. Which, let's recall, is what important critics do. Unfortunately by the time Morrison gets to the '90s and '00s, he has little negative or truly critical to say about other prominent and/or best-selling superhero works, most of which were written by his friends or colleagues (Mark Millar, Mark Waid, Warren Ellis and others). Although he analyzes their importance well enough, I got the sense that he didn't want to say anything bad about the works of his friends or creators younger than himself.
Morrison's not shy about engaging the works of Alan Moore, though, and Supergods is his most sustained explanation of his relationship with Moore's works. Morrison and Moore are arguably the two greatest living interpreters of the superhero concept, rival gods warring over the same turf who have planted their career-defining flags on the same soil (deconstruction of the superhero and the incorporation of "magic" into narrative)... and Morrison has always seemed uncomfortable, even insecure, about that. I've read a dozen interviews over the years where Morrison casually dismissed or outright insulted Moore and his works. In Supergods, though, Morrison seems to set these petty issues to rest. He admits his praise for Moore's work and maturely articulates what he did and does dislike about some of them, while keeping a bit of the (bestselling, fan-favorite) Morrison/Moore super arch-rivalry intact.
The third string in Morrison's narrative quartet is his autobiography as a comics creator. He recalls his family upbringing in Scotland, followed by a portrait of the artist as a young man and his climb up the ladder of the small but vibrant UK comics scene of the '80s. We get a solid history of when and how he wrote his major works, starting with the "British invasion" of the early '90s under the Vertigo label (a golden age that I, and many comic readers of my generation, fondly recall as practically life-altering in influence). We also get a lot on his travels around the world, his fascinating attempts to make his art influence his life, and his experiments with psychedelics, including an extended description of the (seemingly drug-induced) vision/out of body experience/"alien abduction" he experienced in Kathmandu just as he began writing The Invisibles. Morrison's views on "magic" and "rituals" would get tiresome in the hands of lesser writers, but the fact that he's built one of the most artistically and financially successful careers in comics on those foundations makes his exploration of those far-out concepts hard to dismiss.
As Morrison readers know, the man has a seemingly unlimited supply of ideas that erupt from his brain onto the page, too numerous for him (or us) to begin to explore in depth, and this is the root of his biggest strengths and weaknesses. The pages of Supergods are littered with mostly interesting asides and concepts, whole handfuls of them just tossed out there, but the book can get a bit exhausting, especially because of insightful but fairly long descriptions of comics we either haven't read or don't have in front of us for comparison, like listening to film commentary tracks without seeing the films. Morrison's ardent belief in a few questionable new age concepts may raise some eyebrows (like the ability to heal pets through sheer force of will and a theory on solar radiation and zeitgeist that made even me, a lifelong Morrison reader, shake my head), but again-- it's Grant Morrison. His best works are never easy and I'm willing to roll with some occasional nonsense.
The fourth and arguably most important part of Supergods is the theory Morrison uses to tie this all together. In the illuminating final chapters, Morrison weaves together the lessons from his life, his art, and the superhero, and points out the ways that we, the readers, can begin to apply them to our own art and lives.
In short, Supergods is a summation of Morrison's lifelong artistic journey, a synthesis of lessons learned from years of fearless (and tireless) personal and artistic experimentation. And surprise! The psychedelic enfant terrible, the Johhny Rotten of comic books, has mellowed and matured into one of the sanest, most grounded, most decent, most human voices in the medium. I've never personally thanked a writer in an Amazon review before, but thanks, Grant. I feel truly enriched by your many great journeys and now by Supergods.
58 of 65 people found the following review helpful.
Part Sociology, Part Biography of an Industry
By scot16897
Grant Morrison, comic book luminary, presents a thoughtful dissection of the comic book industry, from its origins to the present. It's not what I was expecting, but it was very interesting, and an analysis worthy of a doctoral thesis. It is, in turns, the biography of the comic book industry, an examination of the sociology of the western world since the depression-era appearance of Superman, autobiography of Morrison himself, and review of how real life and the world of the superheroic are converging.
Morrison begins his book, fittingly, with an examination of what made Superman and Batman iconic when they first appeared. For me, this was fascinating, recognizing that the Superman I knew had started not just as an archetypal hero of strength with bold colors of the daytime, but a symbol of the strength of the individual and middle-American farmers against industry and big business during the Great Depression. On the other end of the spectrum was Batman, a big-city, wealthy hero in the dark of night, whose intellect was his only power. Batman was tested by a series of villains inspired by psychiatric disorders, whom he would physically beat into submission.
From there, the author broadens his scope to track the development of the industry as it is influenced by political and cultural changes such as McCarthyism, heroes from the age of science inspired by Kennedy's presidency, the rise of psychedelia and the drug culture, the gritty vigilantism of the 70s and 80s, the events and repercussions of 9/11, and expansion into the film industry.
At the end, Morrison discusses not just what happens to superheroes as they are influenced by the times to become more realistic and lifelike in comic books, but recognizes a growing movement in the real world for individuals influenced by comic book heroes to do good deeds while donning costumes of their own.
While there was a point in Morrison's autobiographical tale where I found myself not relating to him because of his life-choices, By the end, I understood him as he gained understanding of himself and why he made those choices.
I highly recommend this book as a thoughtful, well-researched and reasoned history and socio-political presentation on superhumans and the creators who chronicle them.
8 of 8 people found the following review helpful.
I, for one, welcome our super saviors...
By Bill Bridges
Grant Morrison's saga of the superhero from its birth to its many tomorrows is a welcome breeze wafting from an endless summer somewhere in the future where we will all become superbeings. Welcome to me, at least, who, like the author, grew up absolutely enthralled by comic books.
And like Morrison, I'm tired and bored with the dystopian, snarling pretenders in tights who masquerade as superheroes these days. I'm no Pollyanna or prude afraid of the dark - I've spent a fair share of my career writing about dark worlds present and future - but there's still that kid in me who grew up believing in Stan Lee's admonition that "with great power comes great responsibility." Too many superheroes have mistaken their shirking of responsibility for a punk rebellion against authority.
The contrasts between the Green Lantern and Captain America movies highlight this problem. Hal Jordan allows himself to be convinced - all too easily - that he doesn't deserve the ring he's been given by a dying hero. His acceptance of his role finally comes rather perfunctorily, as a necessity for the final act, rather than from any real desire to live up to his destiny. Not so with Steve Rogers, who is untiring in his efforts to shoulder more responsibility than his weak frame can handle.
Morrison thinks superheroes are archetypes of aspiration, untiring and, in the end, always undefeated. His book chronicles the pop culture history of this archetype in many of its manifestations, not just in comics but also in similar trends in music and fashion. I've read many of the comics he calls upon as exemplars, and I loved reading another author's heartfelt and deeply illuminating appreciation of these works.
Heartfelt is the key word for this book. Grant Morrison is laying it bare, confessing to his love of the good guys, and using biographical moments to back it up. Even if I were inclined to disagree with his analysis - and I am surprisingly on the same page for the majority of it - I could never argue with his passion and love for the writers and artists whose work consumed by childhood.
I do, however, have a geek critique. Even though Morrison admits that he couldn't give a shout out to all his favorite comics stories, I still would have liked to have seen more attention given to Steve Englehart for his Secret Empire saga in Captain America and his Detective Comics collaboration with Marshall Rogers, both of which I feel are keystones worth mentioning in the evolution of the superhero in the `70s and early `80s. But I can't complain too much - he does give proper attention to Starlin's Warlock, after all.
This is probably the best book to give to someone who hasn't read comics in a long time and might be looking to rekindle their interest in the men and women of tomorrow. It's also a great introduction for Jungians and archetypal psychologists who have yet to turn their analytical gazes to the primordial pop culture pool in which our culture swims.
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