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Comic books in 'Wolverine vs. Punisher By Garth Ennis and Frank Tieri'

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1st printing. Collects Punisher War Journal (1988-1995 1st Series) #6-7, Wolverine and the Punisher: Damaging Evidence (1993) #1-3, Punisher: War Zone (1992-1995) #19, Wolverine/Punisher: Revelation (1999) #1-4, Punisher (2001-2004 6th Series) #16-17, Wolverine (1988-2003 1st Series) #186, Wolverine/Punisher (2004) #1-5 and and material from Astonishing Tales (2009 Marvel) #1-6.

Written by Carl Potts, Dan Abnett, Andy Lanning, Tom Sniegoski, Christopher Golden, Garth Ennis, Frank Tieri, and Peter Miligan. Art by Carl Potts, Jim Lee, Gary Erskine, Hugh Haynes, Pat Lee, Steve Dillon, Terry Dodson, and Lee Weeks. Cover by Mike Deodato.

Which are better, claws or guns? Find out in this brutal collection of Wolverine/Punisher fights - and grudging team-ups!

From their first throwdown in the heart of Africa, there's no love lost between two stone-cold killers whose combined body count is off the charts! They'll take on the Punisher's cyborg doppelganger Damage, go to war with the Architect, and head underground for a revelatory mission! They'll rumble in the jungle, melee in Madripoor and literally battle a small army! But nothing can top the sublime violence Garth Ennis's Punisher visits on his sparring partner - except maybe Logan's swift revenge!

Snikt! Snikt! Bang! Bang!

Softcover, 480 pages, full color.

Cover price $39.99.


Garth Ennis

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#1  Edited By kneel before doom

Either that or he have very little knowledge about marvel heroes

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#5  Edited By geraldthesloth

@kneel before doom: Did you read the story before posting the wolverine scan?
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#6  Edited By kneel before doom

@geraldthesloth said:
" @kneel before doom: Did you read the story before posting the wolverine scan? "
Yes, I did. I've read most of his Punisher work.
Yes I know that's his style, but I wish he could get Wolverine right.
As a fan of Wolverine, it's really hard to accept that he can act like this
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#8  Edited By Matezoide2

man,i felt bad for Spidey

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#9  Edited By deactivated-5af7470263a09

he has no interest in writing superheroes seriously , so whether he has knowledge of them is irrelevent.  He writes about them in a satirical context, so whether he gets the character right or not isnt his concern. 
I like wolverine, and i think when Ennis spoofs superheros its funny and refreshing. Its not that serious, so its better to just take it with a pinch of salt.
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#10  Edited By Versasovantare

I found his take on Wolverine in the story with the midget gangsters to be hilarious. That was some of the funniest satirical comic book dialogue I've ever seen.

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#11  Edited By Sparda

I think I just realized that I don't like Garth Ennis.

Haven't read much of what he's wrote. I think it's because Aztek thinks what he writes is good. Hmm.

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#12  Edited By defaultdefaultdefault

pretty much everything that was said, though i will say Ennis can do serious when he really wants to and 
very well, like his Spider-Man story in Tangled Web and his Hulk mini for example.

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#13  Edited By WoundingFactor

Is it just me, or was his vine bio written by a fanboy?

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#14  Edited By MrValance

this guy doesn't get marvel characters...under no circumstances would frank castle do that to peter. don't get me wrong I get satire im a comedy id totally LOVE a satire marvel book, I hear current deapool is like that, but this guy isn't doing satire this is him showing his bias against superheroes. All his marvel work is in canon and has caused a lot of grief for marvel characters over in the battle forums. forgot, the deadpool comic actually has ALOT of guest stars and while theirs comedy and satire for sure(deadpool dressed as spiderman for a day something like that)but the writers never grossly misinterpret other marvel characters, usually they act as the "sraight man". but the characters are never torn apart, this guy's work reminds me of all star batman and robin which was just stupid.this is poor satire and its used in all the wrong places

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Creator / Garth Ennis

The man who gave Frank Castle his balls back.

Garth Ennis (born 16 January 1970) is a Comic Book writer from Holywood, Northern Ireland, known for his love of graphic violence and Black Comedy and his intense dislike of organized religion and the superhero genre. As you can imagine, he has developed quite the devoted amount of detractors among some people in the comics community, but at his best, Ennis writes with engaging intensity, fierce humanity and complete fearlessness.

While he is rather fond of author tracts, his excellent plotting and grasp of character voice can make them work (assuming you can stomach the subject matter). Many of his characters function as Badass Longcoats, but he is also very good at writing down-to-earth, mortal characters as well (Agent Clive in Unknown Soldier, Tommy in Hitman, Kev in The Authority). There are actually exceptions to his well-known loathing of superheroes too - the main one being none other than Superman himself, and he has admitted a soft spot for Spider-Man and Wonder Woman as well; Ennis writes Superman, in particular, with complete and total respect. Also known for his love of war stories (practically a Dead Horse Genre in comics) and reminding us of the sacrifices, bastardry and many Crowning Moments Of Awesome in World War II and other wars.

His most famous works are his four-year run on Marvel's adults-only MAX imprint version of The Punisher (a.k.a. The Punisher MAX) and Preacher, which he co-created with artist Steve Dillon. Two of his works, Preacher and The Boys, have been adapted into TV series. His version of the Punisher has also been adapted to the Marvel Cinematic Universe, starting with the second season of Daredevil (2015).

He has written for:

and created:

  • The Boys - Inglourious Basterds meets Super Heroes; A squad of Sociopathic Heroes cause all sorts of hell for the local Villain with Good PublicitySmug Supers.
  • The Pro - A foul-mouthed hooker gets superpowers, then gets inducted into an Expy Justice League.
  • Just a Pilgrim - A group of survivors in a post-apocalyptic wasteland encounter a tough gunslinger who leads them. He turns out to be a psychopathic cannibal and his leadership gets them enmeshed in a conflict that leaves them all dead.
  • Preacher - A preacher with a Dark and Troubled Past finds himself the Right Man in the Wrong Place, empowered with a Compelling Voice and makes a vow to use it to Call The Old Man Out - by the Old Man I mean God. Adapted into a television series in 2016.
  • Hitman - An underrated series about Tommy Monaghan, a hitman with superpowers who operates in the mainstream DCU.
  • Crossed - 28 Days Later meets "The Screwfly Solution"; a mysterious plague turns numerous people into psychotic rapists with crosslike scars on their face. Quite possibly the most violent series of graphic novels in existence (outside of Japan, at least).
  • 303 - A Russian soldier discovers a well-kept secret about the American President and sets out to exact revenge, using an old Lee-Enfeld .303 rifle with one bullet left. Readable, but very much an anti-Bush II revenge fantasy.
  • The Chronicles of Wormwood - Danny Wormwood, cable TV producer, is the Antichrist, and his best buddy Jay is the second coming of Christ. Many people want them to bring about the Apocalypse, but they aren't willing to play ball.
  • Jennifer Blood - A woman is a loving housewife by day, and a crusading vigilante by night. Ennis appears to have intended the book as a comedy, but instead it reads like a distaff version of his run on Punisher. It's one of his less popular works.
  • Stitched - An American helicopter crew crash-lands in the mountains of Afghanistan. They and the SAS crew they're there to pick up must then contend with a particularly sadistic breed of zombie. A short film of the same name, written and directed by Ennis himself, was shown at a couple of comic conventions in 2011.
  • Red Team - A four-man squad of New York City cops, faced with a criminal they cannot seem to catch legally, instead opt to assassinate him. Things degenerate from there.
  • Rover Red Charlie - When a worldwide epidemic causes the human race to go extinct, three dogs team up to survive and to escape New York City.
  • Caliban - In the far future, the crew of a human spaceship discovers that humanity is not actually alone in the universe when they suddenly slam into an alien vessel.
  • Back to Brooklyn - The story of mobster Bob Saetta, and his journey to rescue his wife Penny and son Michael from his brother, mob boss Paul "The Wall" Saetta.
  • A Train Called Love - An honest-to-God romantic comedy. A woman meets and instantly falls in love with an English hitman as he's executing her perverted neighbor. Meanwhile, a bunch of yuppies have a plan to get rich that requires them to deal with a notorious criminal named "Mister Monsta," who's also the hitman's employer. Hilarity Ensues.
  • Code Pru - a black-and-white horror comedy, and Ennis's contribution to Alan Moore's Kickstarter-funded Cinema Purgatorio project. A staunchly atheist woman becomes an FDNY paramedic and is assigned to their top-secret "monster unit," dealing with zombies, vampires, and Elder Gods.
  • Jimmy's Bastards - A slightly affectionate James Bond parody. A British super-spy is unknowingly targeted for assassination by his virtual legion of illegitimate children.
  • The Darkness - A mob hitman is endowed with The Force on crack.
  • His war comics - a lifelong fan of the genre, Ennis's war comics are his real passion, and unlike the Black Comedy of much of his work, they are usually extremely serious.
    • Battlefields is set in World War II and afterwards, following some of the surviving protagonists well into the postwar period.
    • War Stories is Exactly What It Says on the Tin, various standalone stories set in different parts of World War 2.
    • Dreaming Eagles, a limited series from Aftershock Comics - on the eve of the march on Selma, one of the surviving Tuskegee Airmen tells his teenage son about his experiences in World War II.
    • Out of the Blue, also at Aftershock, revisiting a character from War Stories who now flies Mosquitos.
    • Sara, about a Russian sniper on the Eastern Front.
    • The Stringbags, about pilots flying the Fairey Swordfish.
    • Adventures in the Rifle Brigade is an early work and a rather poorly-regarded black comedy set in WW 2.
  • Dastardly & Muttley - a Setting Update of the Dastardly and Muttley in Their Flying Machines cartoon series, with the two characters being US Air Force pilots affected by a mysterious substance that causes Toon Physics and cartoonish insanity.
  • A Walk Through Hell - A straight-up horror comic from Aftershock. In the aftermath of a mass shooting, two FBI agents pursue two other agents into the depths of an ordinary-looking warehouse, not knowing that there's something inside that drives men to suicide. Notable for having one of the single most legitimately disturbing Wham Panels in 2018.
  • Marjorie Finnegan, Temporal Criminal - A limited comedy series from AWA, about a woman who makes a living by rampaging up and down the time-space continuum stealing whatever looks shiny.
  • Action Girl: Tulip O'Hare, Kit Ryan, Deborah Tiegel, Kathryn O'Brien, the "Night Witches" in Battlefields, etc.
  • Author Appeal:
    • Well-researched military history.
    • Noble soldiers brutalized by amoral superiors.
    • Black Comedy, with occasional forays into Toilet Humour.
    • The idealistic view of America versus its failures, sentimental nostalgia for English history and patriotism.
    • Male friendship under fire.
    • Crime drama, supernatural and/or psychological horror, science fiction, even romance.
    • Anything that was written pre-Comics Code Authority, which he sees as limited comics to superheroes, which he hates for that reason (Superman is the exception, partly because he was the first superhero).
    • Elite military units. Often US Marines if American, or Special Air Service if British.
  • Author Filibuster / Character Filibuster: Ennis' characters have the tendency to break into long, intense rants, which are often about his pet peeve subjects, often being hypocritical in a way that isn't acknowledged by the story.
  • Author Tract:
    • The pointlessness and stupidity of racism/homophobia.
    • The idiocy of The Troubles.
    • The horrors wrought by misguided or blind faith, the Catholic church in general.
    • The flaws of living in the superhero genre.
    • How morality can't be treated as a black and white concept, the heroes of his comics are only better than the villains because they are in harmony with their inner-demons and can do what's necessary because of it.
  • Badass Normal: A theme with his protagonists is they are well-intentioned but fundamentally flawed characters who use their wits to overpower stronger adversaries. He also portrays them as either more heroic than the superheroes and/or better skilled due to relying on self-discipline and training. His portrayal of superheroes varies in animosity because he believes they are too venerated by the public and finds thems disrespectful towards people who are trained to make the hardest decisions.
    • In The Boys, the main characters are government agents who are fighting superheroes because the Supes do more harm than good and should be punished for their many wrongdoings.
    • In Punisher Kills the Marvel Universe, Frank Castle devotes himself to murdering every superhero in the Marvel Universe because they inadvertently killed his family during one of their battles. Frank also goes against them after he was introduced to other people who were disfigured and left brain-damaged because they were caught in the crossfire of superhero/supervillain battles.
    • Nick Fury has his own comic series and the character has no connections with superheroes in this continuity. Garth Ennis specifically wanted him to confront real-life dealings of soldiers and spies in historical situations during the United States' Cold War initiatives around the globe.
  • Big Applesauce: He moved to New York City in the 2000s and many of his subsequent stories are set there.
  • Black-and-Gray Morality: Ennis' villains are among the most despicable in fiction, but his "heroes" often aren't that much better; regularly, Ennis points out that the only difference between the evils of the world and the "rough men" who protect us from them is an awareness of their darkness - and their endless inner battles to control it, a Discussed Trope in Butcher, Baker, Candlestick Maker.

    It's time to demythologize an era and build a new myth from the gutter to the stars. It's time to embrace bad men and the price they paid to secretly define their time.
    Here's to them.

    - James Ellroy, American Tabloid

  • Black Comedy Rape: Despite usually potraying rape as utterly horrific and monstrous, he also frequently uses it as a humurous punishment for his male villains, usually by other men.
  • Crapsack World: Due to the subject matter that his stories often deal with, many of Ennis' characters inhabit a world that has little or any hope for salvation or justice. Preacher is a story about God Himself having narcissistic personality disorder and it's one of the happiest things he's ever written.
  • Crossover: Ennis doesn't do it a lot, but characters from his major works tend to wander back and forth between stories.
    • Cassidy from Preacher shows up in The Boys as the owner of a pub in New York (under his birth name, Proinsias); Kathryn O'Brien from Punisher is the same CIA agent from the last arc of Hitman; the vampires that Tommy Monaghan kills in the "Dead Man's Land" arc in Hitman are led by the new King of the Vampires, after the previous king was killed by John Constantine; the members of the British SAS unit in Stitched have gone drinking with Kevin Hawkins; Billy Butcher of The Boys has a fondness for "spacker porn" that originated with Spacker Dave from Ennis' Punisher run; and Nick Fury meets a man named Fuckface who is described as even uglier than Arseface.
  • Depraved Bisexual: A lot of Ennis's villains will bang anything that doesn't run away fast enough. He frequently uses a particular brand of anything-goes, hedonistic bisexuality as a character trait for his villains, as further evidence of their utter amorality. Almost as if to balance this out, though, he's gone well out of his way in many stories, including The Punisher and The Boys, to depict gay people in dedicated, healthy relationships.
  • Eagle Land: An odd, yet intriguing form of it. He believes the United States is way too self-righteous and full of itself, but he also believes that when Americans choose to get over themselves they showcase what is best and brightest about humanity. The clearest expression of this is from (secret Nazi war criminal) Gunther Hahn in Preacher:

    The Myth of America: that simple, honest men, born of her great plains and woods and skies have made a nation of her, and will prove worthy of her when the time is right. Under harsh light, it is false. But a good myth to live up to, all the same.

    • He has similar attitudes towards the Russians; On one hand, he can't help but gush about their many, many awesome moments in World War II. On the other, he shows just as much work related to their inhuman behavior such as the Soviet Invasion of Afghanistan and their post-breakup transition to The Mafiya. This is best summed up in "Mother Russia" by the first Russian to appear in The Punisher MAX - Alexandr Baranovich Formichenko;
      Nothing left. Everything fucked. Once we are greatest peoples in world—now we sit in bars in Brighton Beach or Coney Island, drinking 'til vodka runs out. Look! Look at this animal! Leon Rastovich, how the fuck is heout of prison! Thanks to his kind, everyone looks at Russian peoples and sees only fucking gangsters!Scum like Rastovich and scum who follow him, who shame the name of Mother Russia! Mobster pigswho dare to call themselves soldiers!I was at Leningrad when the Nazis came in nineteen forty-one!Three years we held out! Three years before they could relieve us! We were soldiers! FuckLeon Rastovich.
      • Notably, on his way to kill Rastovich, Frank holds a combat knife to a Mafiya bartender's eye and makes his position quite clear;

      Alexandr Baranovich Formichenko is protected. (Got a kind of a thing about respect for the elderly.)note Frank even smuggles home a bottle of Alex's favorite vodka.

  • Everyone Has Standards: Though his hatred of superheroes is well known (see Thor: Vikings and his treatment of Wolverine), even he treats Superman with nothing short of complete respect.
    • You'd think being both a costumed hero and a reverent Catholic would make Daredevil an instant target for Ennis, but he is depicted as the Hero Antagonist of The Punisher Kills the Marvel Universe and is treated as a genuinely good man, if too idealistic for his own good.
    • While Ennis has come up with a great deal of unflattering parodies of various superheroes, most notoriously in The Boys and Hitman, he's more even-handed when he actually writes those characters than many fans give him credit for being. Superman, Batman, and Wonder Woman are all depicted in his work as thoroughly competent. Similarly, Ennis' depiction of Spider-Man in Tangled Web #1-3 was extremely sympathetic and touching, showcasing Spidey's compassion and genuine heroism. Kyle Rayner was portrayed as naive, well-meaning but ultimately ineffectual, and Wally West was, well, really kind of a dick. Even Thor, despite his portrayal in Vikings, still gets some genuine moments of badassery. He's gone on record stating that he is more accepting of characters like Nick Fury or the Punisher. The only mainstream superhero that Ennis has consistently refused to write well is Wolverine, who is an idiotic collection of his own cliches every time he appears in Ennis' work.
      • Generally, you can tell how Ennis feels about a superhero by how he portrays their expies:
      • In The Boys, the Superman expy (Homelander) was implied to have been a relatively decent person before being gaslit into insanity (and despite his many crimes, indirectly saves the day at the end), the Wonder Woman expy (Queen Maeve) was the only member of the team who actually wanted to help people before a massive tragedy caused her to cross the Despair Event Horizon and turn to alcohol to deal with her guilt, and the Supergirl expy (Starlight) manages to retain her good-hearted nature for the entire series despite all the trauma she endures.
      • The Batman/Iron-Man expy (Tek-Knight) ultimately possesses genuinely heroic attributes despite being an asshole (he sacrifices his life to save a mother and her child), and unlike the rest of the heroes his questionable tastes were due to having a genuine problem with his brain (in this case a tumor the size of a fist) rather than being a hedonistic asshole. The Wolverine expy is a psycho with two hammers in the place of his hands whose vocabulary is limited to "Gonna!".
      • The Captain America expy is a pathetic twit who literally wets himself at the sight of battle, is sexually violated at Herogasm, and is brutally killed by the Boys.
      • The Green Lantern expy is an unrepentant child murderer who gets probably the most disgusting and agonizing fate in the comic.
  • Fan Nickname: Ennis, Warren Ellis, and Grant Morrison all became popular in America at about the same time, which led many fans at the time to refer to them as the Trinity.
  • God Is Evil: Ennis is an atheist, and is very forthcoming about that fact. In his work that deals explicitly with the Judeo-Christian religion, God Himself is either a drooling imbecile (Hellblazer, Chronicles of Wormwood) or a complete asshole (Preacher). Summarized briefly, the world in Ennis's fiction is so deeply flawed that any God responsible for creating it is either insane or unthinkably cruel. God's servants, on the other hand, run the gamut from good to bad to indifferent.
    • One can make the argument his series Rover Red and Charlie is a case of Playing Against Type. The titular three are dogs in a human apocalypse, but are good and loyal servants who like having masters and cross the country searching for them, with only their faith to tell them it is where they should go. Said faith is ultimately rewarded. Whether or not this was Ennis's intention is unknown.
  • Gorn: Over the top gory scenes found in Preacher, The Boys, Hellblazer, Crossed, Thor: Vikings, and so on....
  • Groin Attack: Ennis is very fond of writing these - both Preacher and The Boys are littered with them, but his Hellblazer run is particularly notorious for them. It was a horror comic where the ultimate horror was always literal castration.
  • Heterosexual Life-Partners: Some of Ennis' best work revolves around exploring deep male friendships, generally Ho Yay-free (even when one of them is gay).
  • Humans Are Bastards: A running theme through much of Ennis' work; regardless whether or not the story has non-human antagonists (demons, aliens, etc.), ordinary humans show themselves to be perfectly capable of committing cruel, vile and evil acts to each other. The darkest examples of this trope in action are Crossed, The Punisher MAX and A Walk Through Hell.
  • I Did What I Had to Do: Ennis really loves placing his characters in impossible situations, and feels that most mainstream comics are poor writing because they fail to do the same.

    In the end, it was a dilemma not unlike those faced by a number of good and bad men in our own history, and if I had to sum it up in one line, I’d say this: what are you prepared to do when there isn’t any easy way out?
    And that, I think, is why I’ve never been able to care about Batman, or Wolverine, or Iron Man… or any of them, really. Not because of what characters like that would or wouldn’t do, but because their publishers would never have the courage to have them written into such a situation.

  • Lighter and Softer: A couple times.
    • He once wrote a children's picture book, of all things, called Erf. Though the title character still does get eaten by a monster at the end.
    • Adventures in the Rifle Brigade is a straight-up farce, a humorous satire of Indiana Jones and other Two-Fisted Tales of its kind.
  • Names to Run Away from Really Fast: The Saint of Killers?
  • Nice Guy: In spite of his incredibly grim writing and distaste for superheroes and religion, he is quite polite and genial in interviews.
  • Only Sane Man: Another common theme (or criticism) of his works is most often the protagonist is the only person who's normal or has any sense of moral values, where as everyone else from side characters to the villains are varying shades of weird, idiotic, sexually depraved or utterly monstrous. It's a criticism because it's also tends to be the only reason why said protagonists are able to win.
  • Our Zombies Are Different: His three comic books featuring Zombie Apocalypse-type scenarios (Crossed, Stiched and Red Rover Charlie) feature Technically Living Zombies that break the traditional zombie mold. In the former two, the infected are extraordinarily sadists with a fondness for inflicting Body Horror (and in the Crossed's case have a fondness for perversion and rape as well). In Red Rover Charlie, the 'Feeders' all go insane and either try to kill each other and/or themselves. In all three cases, the infected display some level of pre-infection intelligence and are capable of doings things like using weapons against those who aren't infected.
  • Promoted Fanboy: He was a big fan of 2000 AD and especially Judge Dredd as a kid. He considers this to have been detrimental to his run on the strip, as he felt that he had too much respect for the character to make fun with many of his stories.
    • Played with on his run on Dan Dare; in an essay to the collected edition, he openly acknowledges that while he respects the character he has no particular sentimental attachment to him; he does, however, appreciate the values that Dare's creator imbued him with, which attracted him to the project.
  • Rage Against the Heavens: Preacher in particular.
  • Rated M for Manly: Ennis's work tends to emphasise traditionally "masculine" values, at the expense of more "feminine" values. As a result, many of his works (especially his earlier works) tend to feel somewhat sexist and conservative and occasionally mildly homophobic (probably as a result of growing up in Northern Ireland during the era of "Save Ulster From Sodomy" and the region's conservative nature even by Irish standards) At the same time, he got better about this as the years passed - in The Boys, for instance, where Rebecca successfully manages to talk Billy into breaking the cycle of violence that started with his father. Even early on, in Preacher, the climax involves Jesse learning that his self-defining masculinity is mostly bullshit and he's able to cry when he makes up with Tulip. Many of his more recent works also deal more seriously with both women and gay protagonists.
    Bruce Byfield: On the one hand, he is obsessed with machismo, and of how manly men interact with each other. On the other hand, he also views machismo as ultimately childish, and needing to give way to a less violent maturity that can only be won through the love of wife and family. The places where machismo operates may be the places where he finds stories, but he also considers those who remain there too long as immature.
  • Self-Deprecation: He isn't so caught up in his tracts that he can't see that his work can get grating for anyone just picking it up to read something they think is interesting. Someone with his name in The Boys is told to go fuck himself and Jesse Custer laughs that he needs to get laid when he realized how petulant and intrusive he's being when he goes on one of Ennis' rants.
  • Shout-Out: Especially to movies like Where Eagles Dare and Kelly's Heroes.
  • Slobs Versus Snobs: Of a sort; class conflicts form a central theme in a lot of Ennis' work, and while he's often willing to skewer the negative sides of both on the whole he comes across as being a lot more sympathetic to the working-class stiffs (as represented by ordinary soldiers, police officers, street criminals etc) than people who put themselves up as some kind of 'elite' (the wealthy, elite corporate types, politicians, superheroes, etc). Although he also insists that working-class characters are not necessarily good and that a nostalgia or class solidarity can often be used to sentimentally excuse bad behaviour, as in The Boys where Butcher mocks how his father's friends toast him as a Working-Class Hero when he was deeply abusive to his wife and children.
  • Stupid Jetpack Hitler: Downplayed. Ennis doesn't throw actual jetpacks into his stories, but whenever he writes anything about World War II, he shows the Nazis as a terrifying juggernaut; disciplined, merciless, and always with more and better stuff than the Allies. According to Ennis's research (most of it now Dated History), the Allied victory was nothing short of the greatest miracle in history, and anyone who says otherwise is either determined to re-write history, a card-carrying idiot, or a Nazi collaborator who wants to sucker card-carrying idiotic Allies into a trap. Case in point, this conversation from Nick Fury: Peacemaker;
    Nick Fury: That's all we need, a King Tiger...
    Captain Kynaston: Really? Our chaps would call it a Royal Tiger. Typical of Jerry, isn't it? They've already got the best tank in the world by far, so what to they do?
    Fury: Build a better one.
    • ...Or this summary from The Boys;
      Mallory: The best German tanks could turn ours into mincemeat; head to head we couldn't even scratch theirs. I must have bailed out of more Shermansthe previous Summer than... Well...
    • ...Or this gem from Battlefields: Tankies;

      Stiles: Ah, Jerry's always got a better tank, man. Tiger's just the most fookin' horrible one. Yer Mark Four's bad enough, so's all them self-propelled goons. Panther's a reet bastad, ye don't want to be friggin' aboot wi' them things. But yer Tiger...shite, man, the armor's foor fookin' inches thick, and the goon'll slice through 'owt' we'eve got. That Eighty-Eight, that's been Jerry's trump card since nineteen bloody forty.

  • Take That!:
    • Every time he writes superheroes, he puts them through utter hell, as he feels has hijacked an entire industry that used to be every bit as diverse as literature. Two particularly bloody swings he's taken are The Pro and The Boys, though it's also common in Hitman.
    • He hates religion, seeing it as bullshit that people use as an excuse for ignorance and cruelty. This is especially apparent in works such as Preacher and Just a Pilgrim.
    • He really does not like George W. Bush. So far, Ennis has written about Bush's assassination following the discovery of a conspiracy (303), his death by misadventure following an accident with a chainsaw (The Boys), unaware that ordering a nuclear strike on NYC would affect Washington DC (Thor: Vikings), and how he was one of the first world leaders, if not the first, infected by the Crossed virus ("The Thin Red Line" arc in Crossed: Badlands).
    • One he brings up almost as often as religion is Political Correctness Gone Mad, especially when it comes to the Melting Pot; in his view, a great percentage of humanity's problems is its refusal to let go of the past, especially when one has crossed oceans supposedly to do so, and a fresh start is freely offered time and time again. On the other hand, he doesn't apply nearly the same amount of vitriol to the kinds of identities he already admires (such as "true Irishmen", as opposed to American-Irishmen), and, in fact, is often quite positive toward them.

    For fuck's sake!! Ye stupid fuckin' bastards! Look at yerselves! Yez almost fuckin' had it and now ye're shittin' it all away! I mean what are we like anyway? All that misery an' bloodshed back home, an' we come back to the States an' the best we can do is just fuckin' carry on with it? Did yez not even hear what Maginty was sayin'? We don't have to slaughter each other! We can get what we want without that! We're free now...! In the name of fuckin' Jesus we're free of the friggin' past.

  • Tear Jerkerinvoked: As much as he's known for his love of splattery black comedy, he's also able to wring tears from the most stony-hearted reader when he wants to. See the fate of HMS Nightingale in War Story's "Nightingale" ("Gone to hell to fight the devil"), or the finale of Preacher where Jesse learns to cry again, then he and Tulip literally ride off into the sunset, or even Hitman ( "Drinks onna house fellas. There ain't no closing time. But you gotta leave your guns at the door.")
  • Vigilante Man: He really likes this archetype, and while he often makes these characters Tragic Hero and Tragic Villain and doesn't glorify their actions, it's about the one kind of character he never deconstructs or attacks in any way.
  • War Is Hell: If a Garth Ennis story involves a war (and most of them do), this trope is all but guaranteed to be at the center of it.
  • The War on Straw: Thanks to his willingness to (ab)use both Author Tract and Take That!, Ennis is willing to ignore or shove aside facts that contradict his preaching for the sake of giving his arguments more "weight", sometimes to the detriment of his works in the eyes of the reader. Both Crossed and Thor: Vikings have a particular infamy for this trait:
    • Crossed was intended as Take That! to the "Zombie Apocalypse survivalist fandom"... but replaces the "Romero Style" mindless shambling dead that said fandom actively bases its arguments on with an entirely different threat made of Ax-Crazy but otherwise perfectly functional humans. Which is kind of like arguing that a group of checkers players are "doing it wrong" and then trying to prove it by replacing all the checkers pieces and rules with those of chess. However, one could more charitably interpret it as saying that that so-called zombie apocalypse survivalists are narrow-minded in the kind of zombie apocalypse they are preparing for, and might very well find themselves woefully unprepared for a different kind of disaster.
  • Write Who You Know: A lot of his best-written characters are Irish. Although unusually for this trope, his actual opinion of "Irishness" is... extremely mixed, to say the least, especially in contrast with his high opinion of "Britishness" and "American-ness". Many of his Irish characters are also among his worst characters, as people. He also emigrated to America as soon as possible, and became a citizen in 2016.

Punisher By Garth Ennis Omnibus Review! (Marvel Knights)

The very last story arc in Garth Ennis' initial run on the Punisher was called "Confederacy of Dunces." Drawn by his old Hitman collaborator, John McCrea (like this storyline, Hitman was not particularly friendly towards non-Superman superheroes). In it, Daredevil, Spider-Man and Wolverine decide to team-up to take down the Punisher, in the wake of the Punisher embarrassing each one of them at some point in Ennis' run (he used a steamroller on Wolverine, he used Spider-Man as a human shield and he messed with Daredevil's head with a gun and chains in a story that was retold in Season 2 of the Daredevil Netflix series). Ennis' outrageous humor on Punisher was initially a breath of fresh air, but even Ennis, I imagine, would acknowledge that it got a bit stale by the end of the run. He then pivoted beautifully with the dark and striking Punisher MAX series, which was excellent.

ANYhow, Ennis is famous for his distaste for superheroes. He thinks they're silly. He would prefer to write crime stories, war stories, horror stories, adventure stories, thrillers, science fiction, pretty much anything BUT superhero stories. Coupled with his dark sense of humor, you have to take these fights with a huge grain of salt. It's pretty much INTENDED to be a joke, ya know? However, I do think that Ennis tried to make the fights "realistic" and I don't think they necessarily work in that regard.

So the three heroes come together to take down the Punisher, but without killing him. They track him down...

Once they are inside the restaurant, Ennis plays it as "Spider-Man, Daredevil and Wolverine are afraid of attacking Punisher with innocent people around," which is fair enough. What's less fair enough is that they actually let him go into the restaurant. "I want a cheeseburger." (In unison) "Whaaaaaaaaaaaaaaaa?" Daredevil's yelling "get him!" and no one does anything, like they're Keystone Cops. "What can we do, Daredevil? He's slowly walking towards a restaurant!"

Okay, so the Punisher gets away by attacking Wolverine in the restaurant, causing him to go nuts and forcing Spider-Man and Daredevil to stop him, giving Punisher time to escape. Again, I don't have a problem with that. Yes, they're still probably a BIT too stupid. "We can't fight him in a restaurant! It's not like I have super-strength and super-fast reflexes that can knock him out! Nope, if I fight him, innocents WILL die." But whatever, it's at least reasonable enough. The Punisher even acknowledges that they each could normally take him apart in seconds. But he also mentions the efficacy of his "burger plan," as if it made sense that saying, "I want a burger" would make the heroes freeze in their tracks.

After he escapes, while he's killing some bad guys, he comes across a mysterious hostage. This is definitely a bit of over-the-top good luck, but at least Ennis set it up well enough.

Somehow, the heroes had to talk it out with each other to figure out that the Punisher making Wolverine go feral was to take them out of action (Spider-Man and Wolverine are super thick-headed in this story. Daredevil, who Ennis can clearly sort of kind of stand, likely due to Frank Miller's work, comes off much better).

Then the Punisher tricks them to attack a rooftop like morons...

and then Spider-Man attacks a room filled with landmines. His Spider-Sense doesn't go off, but he presumes it isn't working for some reason, because, you know, Spider-Man is a moron in this story.

Daredevil manages to start kicking Punisher's ass, but Punisher cleverly enough throws them both out of a window, knowing that Daredevil will try to save them both, and Punisher uses that to wrench DD's shoulders out of their sockets. That's a clever approach.

Then Daredevil has to remind Spider-Man that his Spider-Sense isn't going off, because, you know, Spider-Man is a moron in this story.

So they recover and come after him one last time, but this time, he breaks out the mysterious stranger he found earlier...Bruce Banner! He turns him into the Hulk, and that ends the fight...

We learn that the Punisher has cleverly been feeding Banner explosives, which he triggers after the Hulk has beaten up Daredevil and Spider-Man (and punched Wolverine clean to Boston), forcing the Hulk to turn back to Banner, at which point the Punisher leaves, telling Daredevil not to do this again. And Daredevil's basically, like, "Yeah, okay."

Honestly, it's still a fun story. And the explosives bit? High-larious. So I still LIKE the story, but the heroes act way too stupid, which is the only way that the Punisher gets this to the Hulk part of the story..

That's it for this week! Feel free to make suggestions for fights you think were "wrongly" decided to [email protected]

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Suicide Squad: Kill the Justice League's Prison Jumpsuits Hide Several Easter Eggs


Ennis wolverine garth

Wolverine Survived One Of Punisher's Most Brutal "Kills"

In one of Punisher's classic battles with Wolverine, the former Weapon X received two brutal attacks that should have killed him.

The X-Men's Wolverine is known for his extremely powerful healing factor and Frank Castle's Punisher certainly put it to the test with one of his most brutal attacks ever. Featured in one of their more classic brawls, the Punisher found himself in the crosshairs of the former Weapon X and he needed to buy some time without Wolverine getting in his way. While his first attack was incredibly gruesome, it only served to tick Logan off. It was the second and third attacks that were truly brutal and horrific, though they did provide Frank Castle with the time he needed to make his escape and get some breathing room in future issues.

Back in the early 2000s, Punisher faced off with Wolverine in Punisher #16-17 from writer Garth Ennis and artist Darick Robertson, providing one of the most insane fights that Wolverine has ever walked away from. It's a well-known Marvel fact that Wolverine is nearly unkillable, having been shot, stabbed, and blown up practically on a daily basis, only surviving thanks to his healing factor. This is why, when Punisher blows off Wolverine's face with a shotgun in Punisher #16, Logan is still standing with his face already starting to heal despite his adamantium skull being on full and gruesome display.

Related: Joker Told The Punisher How He Figured Out Batman's Secret Identity

However, it's the subsequent Punisher #17 where things get truly horrific. Knowing that Wolverine will just keep getting back up to hunt him down even after he literally went below the belt and shot off his gonads, Frank Castle resorts to even more drastic measures. Needing the means to give himself a day or two before Logan will inevitably start coming after him again, Castle soon finds the perfect solution, and it's awful: The Punisher uses a steamroller to slowly but completely flatten Logan.

While this absolutely gave Punisher the time and breathing room he was looking for, it did come at the cost of making an enemy out of Wolverine down the line. Wolverine's last act before his healing factor obviously had to go into overdrive was to give Frank the middle claw, and it's evident that the two left their fight on some very bad terms. While Wolverine and Punisher would eventually have a team-up series in 2004, the pair certainly didn't have a lot of kinship or camaraderie (though Castle might have earned Logan's respect).

In any case, getting run over by a steamroller after having his face and tender bits blown off more than proves how powerful Wolverine's mutant ability truly is. While it certainly took time for him to heal and grow everything back, the fact that he was able to walk away as if it never happened will never not be remarkable and serve as one of the coolest mutant powers in the Marvel Universe. Leave it to Punisher to push Wolverine's power to its limit, and it's certainly one of the most horrific and grisly attacks Logan has ever survived.

More: Why Wolverine Really Hates Marvel's Version of the Justice League


Daredevil Is The Woman Without Fear In Stunning Cosplay

About The Author
Kevin Erdmann (1835 Articles Published)

Kevin Erdmann is one of Screen Rant's staff writers. With a major in Cinema Studies and a minor in Comics and Cartoon Studies from the UofO, Kevin is pretty sure he's writing for the right site. While Kevin is a huge Marvel fan, he also loves Batman because he's Batman and is a firm believer that Han shot first. Disney also shares a big part of his fan patronage. Kevin lives in Oregon with his wonderful wife and sinister cat who is no doubt currently plotting his demise.

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Preacher, Punisher And Chicken F*ckers: Garth Ennis Speaks (Behind The Panel) - SYFY WIRE

Garth Ennis

Northern Irish comics writer

Garth Ennis (born January 16, 1970)[1] is a Northern Irish-American[2] comics writer, best known for the Vertigo series Preacher with artist Steve Dillon, his nine-year run on Marvel Comics' Punisher franchise, and The Boys with artist Darick Robertson. He has collaborated with artists such as Dillon and Glenn Fabry on Preacher, John McCrea on Hitman, Marc Silvestri on The Darkness, and Carlos Ezquerra on both Preacher and Hitman. His work has won him recognition in the comics industry, including nominations for the Comics Buyer's Guide Award for Favorite Writer in 1997, 1998, 1999, and 2000.

Early life[edit]

Garth Ennis is originally from Northern Ireland. He had become a citizen of the United States by July 2016.[2]

Raised with no religion, Ennis' first exposure to the idea of God was as a six-year-old in primary school. Ennis' teacher told the class that God was a being who could see inside their hearts, was always around them, and would ultimately reward or punish them. Ennis described the idea as bewildering, strange and terrifying. He later used this experience in his comic book series, Preacher, whose protagonist is slapped after telling his grandmother that he finds the concept of God "scary." Although the fictional violence in that story was not reflected in Ennis' real-life upbringing, his classmates later reassured each other that they all loved God, though Ennis said, "I think I hate him." Ennis later asked his mother about God, and when she asked him what he thought about the idea, to which Ennis responded, "It sounds kind of stupid," a statement the adult Ennis clarified was meant to mask his fear. His mother's response was, "Well, there you are, then."[3]

In 1987, Ennis befriended artist John McCrea while shopping at the first comic book specialty shop in Belfast, which was opened by McCrea and another friend. Ennis would later ask McCrea to illustrate his first professional comics project.[3] It was here that Ennis first met comics writer Alan Moore who advised him to focus on creator-owned work rather than letting comic companies take ownership of his intellectual property.[4]


UK work[edit]

Ennis began his comic-writing career on his nineteenth birthday in 1989, with the series Troubled Souls in the British anthology Crisis.[5] Illustrated by Ennis' friend John McCrea, as living in Northern Ireland meant he did not require reference material for the Belfast-based series, it tells the story of a young, apoliticalProtestant man caught up by fate in the violence of the Irish Troubles. It spawned a sequel, For a Few Troubles More, a broad comedy featuring two supporting characters from Troubled Souls, Dougie and Ivor. In 1997, American publisher Caliber released Dicks, serving as another Dougie and Ivor adventure. Several follow-ups featuring these characters were subsequently published by Avatar Press.

In explaining why he chose to write Troubled Souls as his debut comics work, Ennis explained, "It was the kind of thing that was doing well at the time. I ought to be completely clear and say that, with hindsight, what Troubled Souls really represented was naked ambition. It was a direct attempt to get published. And that was the road that seemed most likely to lead me to success."[6]

Another series for Crisis was True Faith, a religious satire inspired by his school days, drawn by Warren Pleece. A collected edition was issued in 1990 but a series of complaints from churches and religious groups led to it being quickly withdrawn from sale.[7] It was republished in 1997 by the U.S. DC Comics imprint Vertigo. The plot follows an atheist teenager attending Christian school. After publicly insulting his classmates' religion to get back at a girl he was interested in who did not return his romantic feelings, the boy attracts the attention of a maltheist and is coerced into helping him murder clergy and bomb churches. Following the death of maltheist, the book ends with the atheistic hero willingly carrying out a shooting at his Christian school. In the introduction to the Vertigo edition, Ennis described this as wish-fulfillment.[8] Shortly after, Ennis began to write for the UK comics series 2000 AD, and later wrote stories for the title's flagship character, Judge Dredd, taking over from creator John Wagner for several years. Ennis' Dredd stories include "Muzak Killer", a pastiche of mainstream pop music; "Emerald Isle", a tongue-in-cheek story set in Ennis' native Ireland; and the 20-part "Judgment Day". Ennis also contributed the story "Time Flies", with artist Philip Bond, dealing with time-travel paradoxes and Nazis.

In 2001, following much work in the United States, Ennis briefly returned to UK comics to write the Judge Dredd story "Helter Skelter". Ennis said afterward there was "not a hope" to his returning to writing Dredd as he was generally not happy with his run. "I'm too close to Dredd. I like him too much. I can't tamper with the formula; nor can I take the piss the way I do with superheroes".

DC Comics[edit]

In 1991, Ennis he took over the horror series Hellblazer, from DC Comics' Vertigo imprint. He wrote the series through 1994, with Steve Dillon becoming the regular artist during the second half of Ennis' run; Ennis and Dillon would later become regular collaborators on other comics, including the one-shotHeartland, exploring one of Hellblazer's secondary characters. Years afterward, Ennis briefly returned to Hellblazer for the five-part "Son of Man" story with artist John Higgins.

Ennis and Dillon went on to create the 66-issue Vertigo series Preacher. Running from 1995 to 2000, Preacher has been cited as Ennis' landmark work.[10] Its plot concerns a preacher with supernatural powers who literally searches for the Christian God, who had abandoned His creation. Mixing influences from Western and horror films with twisted humor and religious satire, it drew plaudits for Ennis from all sections of the media; the Guardian newspaper voted one of the Preacher collections its book of the week, and film director Kevin Smith described it as "more fun than going to the movies." The AMC television series Preacher, adapted from the comic, premiered in 2016.[11] From 1993 to 1995, Ennis worked with artist John McCrea on another DC title, The Demon, during which the duo introduced superpowered contract killer Tommy Monaghan, a character Ennis and McCrea would go on to do in the character's own title, Hitman. With the exception of a reverent depiction of Superman, Ennis' writing on Hitman was known for portraying superheroes as ridiculous, a characteristic common in Ennis material involving such characters. Hitman ran 60 issues from 1996 to 2001. Ennis also penned several Hitman specials and spinoffs. Following the main title's cancellation, Ennis and McCrea returned to the world of Hitman for a Justice League crossover, and later a comedic miniseries following the supporting characters from Hitman, entitled Section Eight.

Other DC comics projects Ennis wrote include Bloody Mary for the Helix imprint; a run on The Authority for the Wildstorm imprint; and the first arc of the Authority spin-off series Midnighter, as well as a story for the series Unknown Soldier and the original creations Goddess and Pride & Joy, all for the Vertigo imprint.

Marvel Comics[edit]

Ennis' first work for Marvel was Punisher Kills the Marvel Universe in 1995. Ennis noted that he quit writing for Marvel afterwards, as the dialogue in this comic had been altered without his consultation.[4] Following the end of Hitman, Ennis was once again offered the chance to write The Punisher at Marvel. The initial 12-issue miniseries was illustrated by Steve Dillon, who also illustrated much of Ennis' subsequent 37-issue run of the Marvel KnightsPunisher series. No longer finding violence comedic in light of the September 11th terrorist attacks, Ennis relaunched The Punisher under Marvel's MAXimprint, allowing for darker stories. His 60-issue run was released concurrently with several Ennis-penned Punisher miniseries such as Born and Barracuda, and the one-shotsThe End, The Cell, and The Tyger. The creators of Punisher: War Zone have attributed Ennis' The Punisher MAX run as one of the major influences on the film, and Ennis and Dillon reunited for a Punisher: War Zone miniseries to tie-in with the film.[12]

In 2008, Ennis ended his five-year run on the MAX imprint's Punisher series to write the Marvel miniseries War Is Hell: The First Flight of the Phantom Eagle. Illustrated by Howard Chaykin, it featured the little-used character Phantom Eagle, a World War I pilot.[13][14] Other series Ennis wrote for Marvel include Where Monsters Dwell, Spider-Man, Ghost Rider, Hulk, Thor, and a series of Goran Parlov-illustrated Nick Fury stories under the MAX imprint. These stories stripped superspy Fury of his science-fiction trappings in favor of military and CIA situations, including a focus on the First Indochina War in one storyline.[15]

Independent publishers and creator-owned work[edit]

Ennis has written a 2008 Dan Dare miniseries published by Virgin Comics, and origin stories for The Darkness for Image Comics and Shadowman for Valiant Comics. Original comics Ennis has created include the 5-issue mini-series Seven Brothers for Virgin Comics, on which Ennis collaborated with film director John Woo,[16] a vulgar superhero satire entitled The Pro for Image Comics, the post-apocalypticJust a Pilgrim for Black Bull Press, and War Stories for DC and later Avatar Press.

Avatar has published the bulk of Ennis' creator-owned material, which includes the post-9/11 war story 303, a western entitled Streets of Glory,[17] the extreme horror comic Crossed,[18][19]Back to Brooklyn, a crime limited series co-written with Jimmy Palmiotti for Image Comics,[20]Caliban, a science fiction horror series inspired by the movie Prometheus,[21] and Chronicles of Wormwood, which dealt with the friendship between an African-American Jesus Christ and a benign Antichrist. In 2011, Avatar commissioned Ennis to write and direct an original short film, Stitched, produced to drum up support for a possible feature. Ennis was also the initial writer for the Stitched comic book tie-in, also published by Avatar.

Ennis has also done both creator-owned and commissioned work for Dynamite Entertainment, most notably The Boys. Mainly illustrated by co-creator Darick Robertson, who Ennis previously worked with on the Marvel series Fury: Peacemaker and Punisher: Born, The Boys ran for 72 issues before concluding in 2012. This creator-owned extended series was a superhero satire, bringing the genre to places far darker than Ennis had before, by not only portraying superheroes as ridiculous, but also amoral, malevolent, and deviant. Announced in 2006 and originally published by DC's Wildstorm imprint, The Boys was initially cancelled after six issues. Ennis later explained that this was because DC Comics were uneasy with the anti-superhero tone of the work. The series was subsequently picked up by Dynamite.[22] The series was successful and spawned spinoffs, including a mini-series focused on the anti-hero Billy Butcher.[23] In 2019, The Boys was adapted into a TV series by Amazon.

Other original projects for Dynamite include the Howard Chaykin-illustrated crime comic Red Team[24] and a metaseries of war comics called Battlefields,[25][26] made up of mini-series including Night Witches,[27][28]Dear Billy,[29][30] and Tankies.[31][32] In terms of commissioned material, Ennis wrote the pulp character The Shadow for Dynamite.[33] In a surprise move, Ennis attempted to crowdfund a children's book through the Kickstarter platform. Unable to secure a children's book publisher due to its violent ending, Erf as the book became known, was ultimately published by Dynamite.[34]

Ennis wrote Sara in October 2018 for TKO Studios, a war story following a team of female Russian snipers as they beat back the Nazi invaders during a brutal winter campaign on the WWII Eastern Front.[35][36]

Ennis wrote Stringbags in 2020 for the U. S. Naval Institute. The graphic novel relates the adventures of Alliedairmen who crewed a Swordfish airplane during World War II.[37]

Influences and views on comics[edit]

Ennis has explained that as an avid reader of British war comics during his formative years, he did not read superhero comics until his late teens, at which point he found them ridiculous, although he frequently cites mid-eighties superhero material among his influences.[6][3] For instance, Ennis noted that the first American comic book he read in its entirety and appreciated was The Dark Knight Returns by Frank Miller,[38] an author who would prove influential on Ennis' subsequent work, with Ennis citing Miller's portrayal of Nick Fury in Elektra: Assassin as his model for writing the character.[39] Ennis said he was "blown away" by Miller, as The Dark Knight Returns was the first time he encountered a comic writer who approached his work like a novelist. While Ennis was already interested a creative profession, Frank Miller's material and other mid-eighties mature readers comics like Swamp Thing and Love and Rockets inspired him to look into specifically writing comics as a career.[40]

Despite being influenced by superhero material and having written a number of superhero stories both for and outside Marvel and DC, Ennis is noted for subverting the genre and mocking the characters in this work. For example, in the 1995 one-shot special Punisher Kills the Marvel Universe, Ennis has the Punisher kill every single superhero and supervillain on Earth. As a World War II aficionado, Ennis also said he finds characters like Captain America "borderline offensive, because to me the reality of World War II was very human people, ordinary flesh-and-blood guys who slogged it out in miserable, flooded foxholes. So adding some fantasy superhero narrative, that has always annoyed me a little bit."[6] Nonetheless, Ennis has admitted to having appreciation for the idea behind Wonder Woman if not the character, and even to outright liking Superman, the latter of whom he was noted for writing respectfully in Hitman.[41] Ennis has since explained that his issue with superhero comics is not over the genre in and of itself, but more over its dominance in the comic book industry and the constraints imposed on superhero stories by publishers. "I find most superhero stories completely meaningless," Ennis said. "Which is not to say I don’t think there’s potential for the genre – Alan Moore and Warren Ellis have both done interesting work with the notion of what it might be like to be and think beyond human, see Miracleman, Watchmen and Supergod. But so long as the industry is geared towards fulfilling audience demand – ie, for the same brightly coloured characters doing the same thing forever – you’re never going to see any real growth. The stories can’t end, so they’ll never mean anything."[42]

Ennis has remarked that in terms of Marvel and DC characters, he prefers the ones he describes as more grounded, such as the Punisher, John Constantine, and Nick Fury. In particular, Ennis describes the Punisher as resembling the British comics characters he loved as a child more than Marvel and DC superheroes, which provided him with a way to the character.[3][43] Though his Constantine stories, such as "Dangerous Habits" (1991), are widely acclaimed, Ennis grew to dislike the character. He told Vulture in 2014 that he had come to find Constantine morally repulsive and had "no desire to write a character who essentially gets his pals killed and then explains that they were doomed anyway, so why not just spend their lives and use them up."[44]

Personal life[edit]

British by birth in the United Kingdom, Ennis had become a citizen of the United States by July 2016.[2]

Ennis is an atheist,[45] and said he feels disdain toward religion. Ennis blamed growing up in Northern Ireland during the Irish Troubles for influencing this attitude. While he was not directly involved in the conflict as a child, Ennis would hear about it each morning on the radio. Ennis has related that having been raised secular, religiously motivated violence made no sense as to him, characterizing such conflict as a disagreement among participants over "how to worship their imaginary friend. That more than anything gave me my distrust of religion."[3]



This section needs expansion. You can help by adding to it. (February 2021)


  • 1993 Eisner Award for the Best Writer (for Hellblazer)
  • 1994 Eisner Award for the Best Writer (for Hellblazer)
  • 1996 Eisner Award for the Best Writer (for Preacher and Goddess)
  • 1997 Comics Buyer's Guide Fan Award for Favorite Writer[48]
  • 1997 UK Comic Art Awards for Best Original Graphic Novel (for Preacher Special)
  • 1998 Comics Buyer's Guide Fan Award for Favorite Writer[49]
  • 1999 Eagle Award for Favourite Comics Writer[50]
  • 1999 Eagle Award for Favourite Comics Character (for Jesse Custer)
  • 1999 Comics Buyer's Guide Award for Favorite Writer[51]
  • 2000 Comics Buyer's Guide Award for Favorite Writer[52]
  • 2001 Eisner Award for Best Writer (for Preacher)[53]
  • 2001 Eisner Award for Best Serialized Story (for Preacher #59–66)[53]
  • 2001 Comics Buyer's Guide Award for Favorite Writer[54]
  • 2002 Comics Buyer's Guide Award for Favorite Writer[55]
  • 2002 National Comics Award for Best Writer in Comics Today
  • 2003 Comics Buyer's Guide Award for Favorite Writer[56]


Main article: Garth Ennis bibliography


  1. ^Parker, John R. (15 January 2016). "Filthy Genius: A Birthday Tribute To Garth Ennis". Comics Alliance. Archived from the original on 17 January 2016. Retrieved 27 July 2021.
  2. ^ abcO'Shea, Janna. "MTV Geek Interview: Garth Ennis at the Barcelona International Comicon!". MTV News. Archived from the original on 14 October 2020. Retrieved 22 July 2016.
  3. ^ abcde"Comics can do anything.' The GARTH ENNIS Story Part 1". Previews. Diamond Comic Distributors. 21 March 2020. Retrieved 25 November 2020 – via YouTube.
  4. ^ ab"Garth Ennis Story Part 2: 1Alan Moore Told Me 'Own What You Create". Previews. Diamond Comic Distributors. 4 April 2020. Retrieved 25 November 2020 – via YouTube.
  5. ^Ennis, Garth (March 1997). True Faith. New York City: DC Comics. p. 2. ISBN .
  6. ^ abc"Preacher to the Converted". The Irish Times. Dublin, Ireland. 27 August 2011. Archived from the original on 7 November 2020.
  7. ^"Mature Comics Struggle to Survive in Britain", The Comics Journal issue 141, April 1991, p. 21
  8. ^Ennis, Garth (March 1997). True Faith. New York City: DC Comics. p. 4. ISBN .
  9. ^Mancuso, Vinnie (1 June 2016). "'Preacher' Scribe Garth Ennis Talks Faith, Blasphemy and Getting Your Story On-Screen". The New York Observer. Archived from the original on 2 June 2016. Retrieved 12 November 2020.
  10. ^Squires, John (2014). "AMC's Preacher Pilot Finds Its Arseface". Dread Central. Retrieved 4 November 2020.
  11. ^"Ma's Home! Ennis talks Punisher: War Zone". 9 September 2008.
  12. ^Nick Lowe on Marvel Max's War is Hell seriesArchived 8 December 2008 at the Wayback Machine, Newsarama, 7 January 2008
  13. ^Laura Hudson, Ennis Moves from Punisher to Phantom Eagle, Publishers Weekly, 19 February 2008
  14. ^"Ennis And Parlov's 'Fury MAX' Presents A Soldier And Country That Can't Live Without War [Review]". ComicsAlliance. Archived from the original on 21 December 2014.
  15. ^Garth Ennis on Seven Brothers, interview with Newsarama
  16. ^Interview with Ennis about Streets of GloryArchived 13 February 2009 at the Wayback Machine, Comics Bulletin
  17. ^Double-Crossed: Ennis & Burrows talk “Crossed”, 12 June 2008
  18. ^Archived 12 February 2009 at the Wayback Machine, Newsarama, 1 June 2008
  19. ^Ennis & Palmiotti Go "Back to Brooklyn". 15 July 2008
  20. ^Fedotov, Svetlana (1 April 2014). "Q&A: Garthen Ennis Previews New Sci-fi Comic, 'CALIBAN'". Fangoria. Archived from the original on 6 April 2014. Retrieved 4 November 2020.
  21. ^David Pepose (11 November 2010). "Garth Ennis' THE BOYS – 50 Issues of Superhuman Corruption". Newsarama. Retrieved 22 November 2010.
  23. ^"Garth Ennis And Craig Cermak's 'Red Team' Comic Book Review". ComicsAlliance. Archived from the original on 21 December 2014.
  24. ^WW Philly: Ennis Tells Dynamite Stories of "Battlefields". 1 June 2008
  25. ^WW Philly: Garth Ennis Brings War Stories to DynamiteArchived 12 February 2009 at the Wayback Machine, Newsarama, 1 June 2008
  26. ^Garth Ennis on Battlefields: Night Witches, Newsarama, 15 August 2008
  27. ^Garth Ennis Takes to the "Battlefields". 21 August 2008
  28. ^Garth Ennis Writes To “Dear Billy”. 25 November 2008
  29. ^Ennis & His Editor – Talking Battlefields and War Comics, Newsarama, 28 November 2008
  30. ^Garth Ennis on Battlefields: The Tankies, Newsarama, 20 February 2009
  31. ^Garth Ennis Talks "Battlefields: The Tankies". 27 February 2009
  32. ^Webb, Charles (19 January 2012). "Interview: Garth Ennis and Aaron Campbell On Bringing 'The Shadow' To Dynamite"Archived 13 June 2012 at the Wayback Machine. MTV Geek.
  33. ^"'Erf' Is The Garth Ennis Kids' Book You Never Expected (And Sort Of The One You Did)". ComicsAlliance. Archived from the original on 21 December 2014.
  34. ^Ennis, Garth (October 2018). Sara. ISBN .
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Speaking Frankly: Punisher versus Wolverine? Ennis versus Tieri.

“Who would win in a fight between…” seems to be an unavoidable fan response to comics. The snide reply is: “depends on who’s writing it,” which is a fair assessment. Usually, the guest star is the one who fails, if the fight goes down in the other character’s title book.

Frank and Logan have crossed paths often and, again, depending on who’s writing it, they have a different candor. Sometimes it’s friendly, and others it’s outright loathing. The best and arguably the most petty display of this, was the mess of Garth Ennis and Frank Tieri. The relevant parties didn’t seem capable of restraining their efforts to the characters involved. Their fight involved lashing out against minorities because apparently that’s how to make a sick burn, kids!

The Punisher #17: Garth Ennis + Darick Roberston

We’re off to a good start.

Garth Ennis infamously has a sourness towards bigger, caped heroes. This isn’t really news. It shows in Punisher as much as in Hit Man and The Authority. He takes pot shots often, and takes opportunities for his chosen protagonists to outshine their super powered allies. Sometimes, more often than not, this grows elaborate and offensive. Ennis is also prone to caricatures and stereotypes across all boards; not the ‘harmless’ kind. He reels it in sometimes, depending on the label he’s writing for, but it’s seeping through here regardless of the 616 print.

Wolverine being overused and plastered over all realms of media isn’t a new concept either. It’s likely in the wake of that overexposure that Ennis took a particular bitterness towards Logan above all. The other heroes who appear in Frank’s book are somewhat skewed; Daredevil has a much rasher temperament and Spider-Man is a bit dense – but Logan is made into an irrational, overblown caricature.

The Punisher #16: Garth Ennis + Darick Robertson

The plot line doesn’t just involve basic insults to Logan’s character. He is portrayed as utterly out of control, incapable of keeping his temper when accused of being 'short’ and irrationally violent. It takes a more ridiculous and offensive turn as we learn the villain of this plot is a dwarf mobster, who is taking revenge for the insults of his youth by cutting people’s legs off, so they’re short as well. This results in Logan and Frank being swarmed by a group of dwarves.

The Punisher #17: Garth Ennis + Darick Roberston (these credits repeat for following images).


The tide turns when Frank manages to inspire Logan into a berserker rage by telling him he should take the offer to join these men – because they’re the only people shorter than him. It’ll boost his self esteem!

The finale goodbye involves Frank running Logan over with a stream roller, so he doesn’t pursue Frank after this. Oh, and more short jokes.

Later on, Tieri did not take kindly to this. Being in charge of the Wolverine title, he has Wolverine say as much.

Wolverine #186: Frank Tieri + Terry Dodson (again, these credits repeat)

To give Tieri some credit, he does write both characters balanced… to start. The dialogue is flat and uninspired; not any special revelation for either party, but it isn’t actively offensive. He doesn’t do the same thing as Ennis does:


However, the ending changes this drastically. Frank falls, and something tumbles out of his bag. What is it?

Logan’s response, the final parting shot of this issue, is to say: uh huh, you keep tellin’ yerself that.

Ennis attacked Wolverine’s character, and compared him to a dwarf – that being a punchline. In response to his character being insulted, Tieri’s response is to turn around and say: well your character likes men. Burn.

Tieri has gone on to write other Punisher books. Unlike Ennis, it appears he doesn’t actively disdain the character. It seems more like a direct, spiteful response. Just because.

When it comes down to it, this is a childish fight between Ennis and Tieri, and neither come off looking good.


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