Graphic Novels That You Would Like If You Weren't Too Chicken To Read Them - 'The Authority' and 'Planetary'

“We were the fucking Beatles,” said writer Warren Ellis of his twelve-issue run on ‘The Authority’ with penciller Bryan Hitch, inker Paul Neary and colourist Laura Depuy. Like most Beatles comparisons there is some hyperbole to Ellis’ remark, but ‘The Authority’ was certainly a shot in the arm – or should that be a kick to the pelvis – to superhero comics when it first appeared in ’99. (It would become known as one of the definitive ‘post-superhero’ series – a pretty cool term that seems to have disappeared from the present-day lexicon.)



While the creators were not the first to use what was known as the ‘widescreen’ style of comic book storytelling, they became the most identified with it, particularly the art team of Hitch and Neary. Essentially, each story was spread out like the creators were making a big-budget movie, with wide panels and plenty of ‘splash’ pages showing cities being blown up, bad guys being ripped apart, and even, in their last story, God’s brain being electrocuted.

The team – led by Jenny Sparks, the spirit of the 20th century – were also insanely powerful. Apollo and the Midnighter were essentially Superman and Batman with less scruples, Jack Hawksmoor could order entire cities to fight for him, the Engineer could use her liquid machinery to make big-ass weapons, and the Doctor, Earth’s shaman, could do pretty much anything he wanted. Needless to say, they weren’t exactly the nicest superhero team going around, but they did have principles, which prevented the title becoming simply an outlet for blood lust. And, you know, watching the Midnighter fly the Authority’s ship straight into the bad guy’s headquarters is pretty fun.



Although the Ellis/Hitch books were some mighty fine storytelling, the issues that followed, written by Mark Millar and drawn by Frank Quitely were, in my opinion, even better. Defenders of the Ellis/Hitch run have claimed (give or take a bit of paraphrasing) that the Millar/Quitely issues were too nasty, too obvious, too reliant upon shock rather than awe to suck readers in. Ellis’ Authority were known to ruminate upon their hyper-aggressive methods (‘How many people you think we killed?’ one member asks at the end of one of their typically brutal battles), Millar’s Authority positively revelled in them.

Personally though, I prefer the Millar/Quitely issues because they seem to me to have more depth – I prefer two issues of ideas crammed into one rather than one issue of ideas spread over four. A typical Ellis/Hitch sequence has Apollo and the Engineer pat themselves on the back for four pages for travelling to the moon. In roughly the same space Millar/Quitely move from inappropriate jokes about sharing toilet facilities with refugees to media debates about the Authority’s deposing third-world dictators to speculative remarks concerning reincarnation. Or to put it another way, Ellis wanted you to sit back and take notice of how good the story was, Millar just got on with it.



Ellis’ approach of reminding readers just how awe-inspiring everything is was carried over to his other popular series from the turn of the millennium, ‘Planetary’ (drawn by John Cassaday). Where ‘Planetary’ makes up for it is in the variety of its subjects and storytelling techniques. The rather ingenious idea behind the series is to follow a team of super-powered archaeologists as they dig through the refuse of pulp and popular culture from the past century. Hence, we have stories about an island of giant monster corpses in Japan, a murdered cop in Hong Kong that returns as a spirit of vengeance and an alien ship that has been stranded on Earth since the time of the dinosaurs.



Another strong point of the series is its main cast – the Drummer may be, as one of his teammates calls him, ‘a pet living fart’, but the other members, Jakita Wagner and Elijah Snow, are two of the coolest characters in modern comics. Jakita is savvy and super-strong, and has joined the team for the purpose of saving herself from boredom, which as motivations go, shows remarkable honesty. Elijah, meanwhile, is roughly 100 years old, and has built up intimate connections with some of the century’s most important (fictional) figures, including Sherlock Holmes. They can be pretty nasty as well – Elijah doesn’t mind resorting to the odd kick in the unmentionables to beat a foe – but compared to the Authority there is more of a sense of adventure with this team, as opposed to a sense of doing whatever it takes to get the job done.

Indeed, resolutions are hard to come by in ‘Planetary’, stories end anti-climatically, their completion seemingly determined more by page count than anything else, and very few questions are answered until at least the twelfth issue. But perhaps it’s also these qualities that mean, of the two series, ‘Planetary’ will be the one that remains most relevant in the years to come.