Seaguy is the kind of comic that makes reading comics fun again, even if (or maybe especially if) you're a jaded longtime reader. Morrison tells a story that is at once a funny parody of superheroes mixed with his trademark weirdness. However, underneath the surface, one can read a pretty searing and hilarious indictment of the current superhero driven comic-book market, trapped in its routine of mundane thrill-rides and passing by genuine excitement. Morrison's unusual creation is brought to life by Cameron Stewart, and it's fair to say that at least half the credit for the book's wild energy is due to Stewart's amazing visuals, whether it's the creepy version of Mickey Eye theme park, the strange creations of Seaguy, She-Beard or Chubby or a fantastic action sequence that closes out the issue.
The world of Seaguy is one that blends a sort of benign weirdness in with a utopian happiness, but it all has a sort of sinister edge to it. In these days when all too many people are willing to turn a blind eye to the atrocities going on in the world in the name of "Who will be the next American Idol?" Morrison's portrayal of a world where an inane rhyming slogan like "It's Xoo! It's new!" can sell folks on a mystery product and everyone spends their time watching nonsense programming and visiting theme parks based around the same concepts is both funny and insightful. Morrison also has a great deal of fun here with the notion of superheroes, with ridiculous characters like Seaguy (a guy in a wetsuit) and She-Beard (a riff on the Red Sonya "love any man who conquers me" cliche) remembering that the biggest hero of the universe was a mechanical ostrich. There's a sense of light, enjoyable fun to be had in a surface read of the book.
Reading deeper, though, one can see Morrison examining the pitfalls of our modern society and the pitfalls of the comics industry. It's not hard to see the Disneyworld analogy in the portrayal of Mickey Eye, and Morrison has some pretty harsh things to say about the western world's dependence on television as anesthesia against thinking or theme park rides as a substitute for real adventure. In addition, the story can be read as a criticism of the comic-book industry's somewhat stale patterns of status quo and illusions of change, whether it's the rote battles with death that Seaguy has, the routine recitation of motivations and goals from She-Beard or Doc Hero's obsession with a kid's thrill ride rather than an interest in actually doing something to make the world a better place. It's all fun and very funny, but there's a more serious meaning to the story as well.
In all honesty, what had me looking forward to Seaguy wasn't Morrison's writing but Cameron Stewart's artwork, and he definitely doesn't disappoint. Stewart tackles Morrison's wierd imagery perfectly, from the surreal cartooniness of Mickey Eye to the spectacular splash pages of the theme park or the last battle of the heroes all the way to the more mundane backdrops of a grocery store and a dock. He gives Seaguy a sense of place, and also does exceptional work with the storytelling, portraying Seaguy's almost manic-depressive mood swings and creating a world that seems real enough that the more unusual elements, like talking horses and fish or alien goo monsters, come off as a little more strange and fun.
Seaguy is the cure for a wave of comics that take superheroes too damn seriously, a surprisingly fun romp that manages to be at once a popcorn read and one with deeper intent. Wild ideas and a wicked sense of humor blend with some of the best artwork in comics to make for a stunning debut, and I look forward to seeing where this short but sweet miniseries winds up.
