Seaguy #1

Posted: Friday, May 21, 2004
By: Ray Tate

"You Have Been Reading Run, Xoo! Run!"

Writers: Grant Morrison
Artists: Cameron Stewart, Peter Dohtery(c)
Publisher: DC

Seaguy is full of ideas. There are about ten ideas per page in Grant Morrison's latest project, and that's not counting the moments when Mr. Morrison is just japing in surreal fashion.

The story opens up with a nod to of all combinations The Seventh Sign and Doctor Who's "Curse of Fenric." Morrison however makes the chessplaying his own. He imbues the match with humor as well as a slick, philosophical observation about death that also exhibits the intelligence of the hero himself Seaguy. As weird as the scene happen to be, in context, it makes sense. Even death's mode of transport makes sense. As does death's threats against Seaguy's sidekicks. Morrison knows that sidekicks have Mayfly type life-spans. Seaguy's sidekick is a cigar-chomping, floating flounder named Chubby who has a speech impediment similar to that of Derby Dickles, the original Green Lantern's chum.

After dropping a mystery with Von Daniken overtones almost in the lap of one of Seaguy's friends, Morrison turns his camera to an odd, very odd Red Sonja/Zeuss amalgamation that leaves the reader dazed and confused. In a good way.

From there and a surprisingly important trip to the supermarket, we learn of an avian hero who gave his life to stop the Anti-Dad. My impression of this scene is that Morrison is serious about the faux history he gives to his creation. One of the implications of The Crisis of Infinite Earths was that the Monitor gave many of the heroes their super-powers. It was not chance that happened along the lightning bolt to Central City. The Monitor fixed the odds. I wouldn't mention this because I'm always mentioning the cataclysm that robbed DC of its greatness, but Morrison devotes and Cameron Stewart delivers a two page spread evoking the spirit of the heroes attack against the Anti-Monitor. Not being privy to Mr. Morrison's thought process I can only deduce that Morrison holds that moment in comic history as defining. After the event nothing ever was the same again and neither is the world of Seaguy. It becomes placid and controlled. Is Morrison saying something about the DC universe? I really cannot say for sure if this is inference or intent.

Much of Grant Morrison's meaning is elusive. Is it an accident that talking horse gets nailed in the head, or is this a statement against type of pabulum such as the imminent remake of Mr. Ed that television networks try to feed its audience? Is it merely a stupendous, sick joke? No idea.

The television metaphor is not without some validity. In the next scene, Mr. Morrison shows Seaguy and Chubby watching one of the most twisted versions of Mickey Mouse I have ever seen. Surely it's no coincidence that Morrison links Disney with Big Brother, and clearly Morrison is stating an unpopular viewpoint of how journalism is censored. Seaguy is almost in the same vein of the Prisoner.

Cameron Stewart known for Catwoman achieves emotion with his artwork. His Seaguy is classically heroic but with an unassuming, every man appeal. Chubby could have been annoying, but Stewart instills such jocularity and humanity in the fish that you cannot help but like him. Stewart contrasts the innocent aura that follows Seaguy and Chubby with disturbing iconic imagery especially prevalent in their visit to one eerie amusement park that reveals glimpses of conspiracy.

Seaguy is another triumph by Grant Morrison. Cameron Stewart's artwork perfectly trumpets Mr. Morrison's multitude of ideas, and while brainstorming, the creative team still bestow strong characterization to the heroes and villains that anchor the ideas to a solid base.