Y'all might've missed this bit by Leonard Pierce at the High Hat. (I have no opinions on his opinions, but he does have some strongly held ones about writers, so I thought I'd just throw it out there...)
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2. THE HARDEST-WORKING (LIVE) MAN IN SHOW BUSINESS OF THE YEAR: GRANT MORRISON.
What is it about British comic book writers who think they’re magicians? With Alan Moore in his dotage and Neil Gaiman puttering around with inconsistent projects at Marvel, the crown of best writer in comic books — well, okay, it belongs to Chris Ware, the Babe Ruth of graphic storytelling. But Ware works at a snail’s pace, while Grant Morrison seems to crank out brilliant postmodern superhero stories six a day and maybe a few more on the back of a cocktail napkin over lunch.
Morrison’s reputation would already be assured if he hadn’t written a thing during 2006; he was already a legend for his metafictional Animal Man, wildly anarchic The Invisibles, the legendary Doom Patrol, the officially suppressed Flex Mentallo, and well-received runs on X-Men and Justice League. (He also wrote the hilarious New Adventures of Hitler, which is exactly what it sounds like.) The previous few years had seen him produce an avalanche of worthwhile projects, from the inspired if inconsistent The Filth to the universally heralded WE3, but it was this year when he landed a gig as DC Comics’ unofficial ’rewrite guy’, becoming one of three editors (along with the mediocre Mark Waid and the horrendous Geoff Johns) responsible for shaping the future direction of the company. In that role, he produced All-Star Superman, a non-canonical take on the iconic character that instantly took its place as one of the best reads on the Last Son of Krypton ever produced; Batman, which has broken no new ground, but is a hugely enjoyable read that demonstrates Morrison’s easy facility with superhero fiction; The Authority, an opportunity for Morrison, one of the best writers in comics, to salvage a property associated with Mark Millar, one of the worst; and 7 Soldiers of Victory, a series of intertwining mini-series built around reinterpreted versions of second-string DC characters that culminated in a single-issue group title that is easily the best mainstream comic of the year. He’s also the standout writer on 52, DC’s year-long weekly series that is probably the most enjoyable “event” comic produced by either of the big two publishers since the yearly tradition started in the 1980s.
There’s simply no way one man, however talented, can keep up this pace forever; even a guy as good as Grant Morrison is eventually going to burn out under a workload so heavy. But it’s a hell of a ride while it lasts. Now, if only he’d get a chance to finish Seaguy ... - Leonard Pierce