Most people probably know about Warren Ellis from the Castlevania Netflix series. Some of them likely know his look into superhero fiction with The Authority and Planetary. During his early days, Ellis follows the examples of his peers like “Alan Moore” and “Neil Gaiman”. After his work spirals out of control he takes the chance to reexamine himself. As a transhumanist, Ellis wants to remind people about what it means to be human. Disclaimer: Warren Ellis has been accused for multiple accounts of sexual coercion. We will not be focusing too much on Ellis’ vices, but please be aware of them and the lengths Ellis goes to rectify this.
Warren Ellis: Progress Through Trial
Warren Ellis’ earliest memories are the televised moon landing. This gives Ellis the empowering belief that man can become more than what they are. Unfortunately, Ellis finds later in his life that he still has his own flaws he must overcome. As a writer, Ellis works several jobs to make ends meet even with bankruptcy. It’s far from an easy transition from all of these to working in British magazines. Just imagine what it’s like taking on America’s new transition in the 90s.
It’s during that era with Marvel 2099 that Ellis reintroduces “Dr. Doom” as a force of necessary evil. How do you fight mega-corporations that control an entire country? Apparently by becoming it’s president without any strings on him. Now there is some really unfortunate implications that this only happens in comics. But you know, people focus way too much on the pessimistic side of Ellis’ work.
It’s Ellis, Not Ennis!
When people forget who you are as a creator, it’s easy to get overshadowed by your work. That’s essentially what Ellis goes through in his career post-Transmetropolitan. Sometimes he get mistaken for Garth Ennis with how his series tend to depict superheroes like in Ruins. It’s a cluster of superheroes without optimism or imagination. It doesn’t help that both he and Ennis work with John Constantine.
Some like to think he’s a superhero hater with his more frustrating look at capes. A good number of them show heroes with fundamental flaws. While superheroes have a reputation of taking the law into their own hands; these guys take it to another level. From killing presidents just because they are not the preferred candidate to committing atrocities. Supergod meanwhile shows how these super beings would barely be human at all. In all honesty, these are impressive interpretations but it can have better direction. Not unlike his earliest work in Wildstorm.
Transmetro-Heroes
As Ellis could only make temporary changes that have no meaning with the mainstream, Wildstorm is where he really shows his strengths. With DV8, Ellis reminds audiences and publishers to lessen the angst. To paraphrase a masterpiece of Grant Morrison “Only a bitter adolescent confuses realism with pessimism”. Very soon Ellis takes the reins on Stormwatch, one where he challenges his transhumanism beliefs. With such advances in technology in the turn of the century; why don’t superheroes be more proactive? Unfortunately, there’s a difference between responsibility and entitlement that only a few characters get.
“Weatherman” by all accounts is a very 90s superhero; a stoic, ultra-masculine man with a superiority complex. Henry believes only in structure and management; everything else is statistics to him. This contrasts with Jenny Sparks, an embodiment of her century’s progress. While living with the worst of humanity throughout her lifetimes makes her cynical, Jenny believes in the good of humanity. The inclusion of the openly homosexual Apollo and Midnighter is certainly a big step up in several ways. But focusing on just those aspects is tunnel vision, something that tends to happen in The Authority.
A Wider View
The Authority is generally known better for Mark Millar’s approach. Before that Ellis introduces them as people in an action movie. The widescreen comics serves as reference in later comics like The Ultimates. All of that is just icing on the cake for characters who live without confining mandates. Each member is well thought-out and dedicate themselves to more than just their superhero lives. Apollo and Midnighter even break the mold for homosexual representation. In effect Wildstorm and Ellis present something to strive for in real time.
When everything looks bleak like in later renditions of The Authority, finding humanity is crucial. Lazarus Churchyard, one of Ellis’ earliest work depicts Europe at its bleakest. The title character wants to die but on his way through the world he finds sublime experiences. One piece of story people tend to like is Lucy; it’s less of a tragic ghost story and more of a transcendence. The character is much like Churchyard but her life inspires others to reflect on themselves. This is what Ellis does in a spiritual follow-up in Transmetropolitan.
There’s the Title
Spider Jerusalem is a journalist who wishes to live away from the world. Like some people I talk to, he sees it as a place that is irrevocably corrupt. Frankly, it’s a little hard to blame him. With topics like school shootings being so common, it’s like a fashion trend. Even the iron age of comics doesn’t heed Ellis’ warnings about only depicting “edgy” content. But with writer and character still under their publishers contract, they make the most of it.
In a future where the mundane and insane mingle, Spider wants to peel off the layers. But it’s not simply finding the best of humanity it’s also accepting the worst. Through the combination of Gonzo journalism and a modern Don Quixote, Ellis’ message finds an audience. Everything from nostalgia, religion, right-wing politics, and transhumanism gets satirization. For Ellis, no matter how much progress, honesty and compassion are the true requirements for advancement. Unfortunately, that’s also why Spider can never be anything more.
Warren Ellis on Superheroes and Genres
It’s one thing to spread a message, it’s another for people to immerse themselves into it. Despite Ellis’ reputation, superheroes actually fascinate him the way first timers do. That’s not to say he doesn’t take time to examine superheroes in different aspects with their surface material. In the words of the late Stan Lee, on secret identities and costumes, “anybody reading Spider-Man in any part of the world can imagine that they themselves are under the costume”. Ellis uses this same logic to immerse the audience into his view of transhumanism in Iron Man: Extremis.
Comics With a Cause
Iron Man: Extremis shows a more personal angle into transhuman views. Tony Stark is a great character for such a subject. Ellis’s writing combining with Adi Granov’s computer-enhanced artwork creates a story where themes integrate wholly. In it, Tony Stark contemplates his place as a futurist. For that matter the secret Iron Man identity loses its relevance after the Cold War. Most fans didn’t even consider Iron Man that great a character until the Iron Man movies.
Here though, Ellis displays a genuinely human character reintegrating himself in the Marvel universe. Through a retrovirus that serves as the object of conflict; Iron Man effectively integrates with Tony Stark (and the reader) in body and soul. Unlike his regressively minded opponent, Iron Man displays the modern integration of humanity and technology. Comics themselves get a modernization, especially when this story gets the motion comic treatment. But again, what’s the point of meaning when there is fun to be had?
Let the Good Times Roll
Let’s discuss the Warren Ellis series people makes sure nobody forgets, Nextwave: Agents of H.A.T.E. This series has all of the fun of comics with the subversive antics of Ellis himself. Rather than wallow in the events of Civil War; a few of Marvel’s misfits band together to fight off terrorists. But the premise doesn’t do it justice. The characters are so bombastic, crude, and contradictory it’s hard not to break out laughing. Overall, it’s just about having fun.
Sometimes it’s enough to make fun of people in a playful manner. Thunderbolts in particular shows how Civil War made the Marvel Universe worse off. What is something for reform becomes a means to do crimes without restraint. When Songbird leaves, the villains wreaking havoc help cause their own downfall. That’s counterintelligence for you, spy work without the messy backgrounds.
I Spy a Cinematic Warren Ellis
When it comes to espionage, Ellis likes to subvert expectations. Some people are likely familiar with the Red movies. To be honest they actually fit Ellis’ “for fun” stories despite the changes in tone. Probably for the best though considering this expands Moses’ character. Too bad Global Frequency can’t have that. It’s one series that emphasizes humanity’s potential at its best and worst. In that series a global network of experts from all fields of life tackle subjects so absurd (like mind-controlling memes) it requires the most surreal oddballs. Anyone in life can rise to the occasion, but it takes time and effort to get it right. Just look at every studio who tries to get through the pilot phase of a TV adaptation.
What better way to explore spy-fi than the quintessential example himself; James Bond. The first is a typical Bond story with no time for flings or gadgets. Instead it shows 007 at his prime against familiar enemies. All of that is but a distraction for when things really heat up in the second volume. This time 007 deals with less adventure and more thrills. With danger around every corner Bond shows himself as a true man of action. Even his womanizing methods feel tense. The whole plot could easily be a movie. Whoever gets to be 007 better pick up this series. Speaking of hopeful futures…
Warren Ellis on Slipups
Not everything goes according to plan however. The newuniversal series at Marvel is a concept where a parallel world changes after an event. The series has some potential to expand on its original concept; unfortunately a computer crash ends up destroying any chance of that. Ellis meanwhile also works on Fell, a detective story about starting a new life. The series is successful but for some reason it cancels partway through. Much like life, things don’t always work out and not because you did anything wrong. It’s best to just roll with the punches.
It’s a lesson that people learn in spades through Karnak. The series has a very divisive reputation when it comes to execution; yet it’s something I believe describes what Ellis goes through. The fact that there are several delays and a bittersweet ending reflects Ellis’ frustrations. He’s tired of jerkish anti-heroes and his political expectations. What’s wrong with just having fun?
Perhaps nothing says that better than Ellis’ other notable series Planetary. It’s everything Ellis puts into his work and how it clashes with everything before. I will let some acquaintances handle descriptions.
Meanwhile we’ll examine the influence Ellis leaves on others.
Warren Ellis: Entrusting the Future
In modern times, Ellis only makes sporadic appearances in mainstream comics. From one point to another, he expresses his frustrations about what the future promises. Avatar Press is full of series about advancements in technology and discoveries. The retro-futuristic style reminds people about a time when advancements don’t mean Black Mirror. That doesn’t necessarily mean that the concept or threat of it doesn’t exist. In fact, it’s always around the corner in his Image series. The Woods show how dangerous this fascination can be.
When it comes to his place in comics overall, Ellis seems to question his place in the industry. That sense of isolation runs rampantly in Moon Knight.
But it’s those moments of isolation where Ellis becomes aware of the effect he has on people. “Brian Wood” (also facing controversies) is a student of his; to the point of entrusting Moon Knight to him. He also works with his fan “Kelly Sue DeConnick” on a few Captain Marvel issues. “Jonathan Hickman” even incorporates the lost newuniversal ideas of Ellis in his epic stories. In Ellis’ own way, he serves as a guiding force for some of these people. So much so that Ellis finds his creative edge again both in comics and other mediums.
Warren Ellis: Express Your Views Openly
Ellis tries his hand at more creator-owned series. Cemetery Beach is simply a long action sequence; while not the most compelling series, it is a nice way to blow off steam. Compare that to Shipwreck, a return to form of his detective stories. He also does quite a number of projects including writing the story for the original Dead Space with Rick Remender. It’s probably what even leads to his involvement in the Marvel Anime project. All of these new worlds and there is still one people tend to forget, Wild Storm.
In an attempt to rebrand some older titles, Warren Ellis gets the reins to a new Wild Storm. Warren manages to do what DC fails to do in 2011 and create something for new readers. Rather than just distilling everything about the old universe into a new one; a 4-volume spanning epic creates an organically growing universe. One that leaves fans begging for more.
What’s Next Warren Ellis?
A begging that Ellis answers with Castlevania; an adaptation that makes every piece of the world a story that aligns. In recent times however, nobody knows what’s going to happen on Ellis’ end. As the last episode of the third season of that show may imply, even the best of people have ugliness in them. With Ellis stepping away from the show and giving some of his Batman material to others, he is attending therapy to remove some of his toxic celebrity. So remember Warren Ellis’ operandi: No matter how much you improve yourself; you must remain human. Being human doesn’t just mean being aware of your flaws, it’s making the effort to remove the worst of them.
What do you all think? Is Ellis washing himself out, especially after some MeToo moments? Leave your comments below?