Into the Supercontext part 64: IAMTHEINVISIBLEFIRETHATWORKSINSECRET

(Images stolen from Pah, Funnybook Babylon and A Moment of Morrison.)

IS ALL NOW LOVE.

"IT ALL TURNS OUT IN THE END"

"Things are catching fire now.  Osiris has left the building.  The Cross is deserted.  No Bosses except Level Bosses.  Get out of my room, Dad!  Horus is here; in the form of two uncanny, indestructible 12-year-old twins from Burma.  In the forms of the Anti-Capitalist riots in London and Seattle.  In the form of Keanu in The Matrix.  In the form of Edger kids rejecting the drugs of the Spectacle, spoiling for a fight.  My generation called these highly-charged solar winds "punk" the last time they rode in on the 22-year sunspot cycle.  This is a good time for change and novelty.

I've shown you mine.  Now show me yours.

I anticipate fireworks."

Grant in excelis.

Glasgow, Aquarius 2000.

Into the Supercontext part 14: Absolute Vertigo

(Image stolen from DC database.)

Absolute Vertigo
A 1995 DC Comics Vertigo anthology comic edited by Karen Berger.
Cover art by Glenn Fabry, Richard Case and Phil Winslade. 
Featuring comics from a whole bunch of people including a King Mob story by Grant Morrison and Duncan Fedrego. 

Now that we are through the first year of The Invisibles, let's take a stroll around the scenic view of the Vertigo comics imprint and look at this Absolute Vertigo thing.  This comic is basically just a preview book of new and exciting comics that no one had ever herd of yet like Preacher, and Ghostdancing.  (The first ever printed appearance of Preacher for those keeping score.)  It is the kind of thing  Marvel often does for free now.  But DC charged 99 cents and the main selling point was that it included a new Invisibles comic.

The Invisibles comic in question is a short King Mob story.  This is a solo story and gives us a look at what a crazy time traveling super spy assassin like King Mob does when not on some mission with the team.  Mob receives a weird fetish doll in an Invisibles drop box.  So, naturally, he takes it to a fetish shop to see what's up.  He meets up with a nice dominatrix lady named Joni.  She examines the doll.  Turns out that it is a kind of voodoo doll bomb and if Mob does not figure out the correct sigil to reverse it, the thing will kill him.  This plot really just serves as and excuse for Duncan Fegredo to draw Mob driving around looking bad ass in that super trashy Duncan Fegredo style.  So very 90s cyber punk.  And a lot of fun to look at here years removed.

Mob seems some raving conservative blow hard on TV ranting about controlling the masses.  He realized it was the same guy that dominatrix Joni had been beating earlier.  The hex was put on him by Joni for the dirty rich white dude.  Oh, dirty rich white dudes are the worst?  Realizing the betrayal, Mob returns to the fetish shop and murderates Joni.  There on the wall in a patter of her blood he sees the reverse sigil he had been looking for.  He puts the sigil on Joni's head and reversed the hex back on the dirty rich white dude.  Justice!  Horrible, bloody, fetish shop justice.

This is as good a time as any to mention this comic's editor Karen Berger as a driving force behind Vertigo comics and therefore, at least in some way, The Invisibles.  It was recently announced that Berger is leaving the Vertigo brand.  This write up at The Beat is worth a look.  Although, I argue against the idea that Vertigo is unnecessary now.  Maybe it is not necessary to comics but I do think it is necessary to DC/Time Warner comics.  They still need a place for creator owned comics because if they don't have one, their top talent will place their creator owned books elsewhere.  And while DC/Time Warner may not care about their silly little creator owned comics I think they should care about their top talent becoming happier at a different publisher.

Speaking of which, I hear that young upstart writer Grant Morrison has a new comic at Image these days.

Your best pal ever,

Shannon Smith

p.s. Say you want a leader but you can't seem to make up your mind. I think you'd better close it and let me guide you to my twitter feed.

p.p.s. Let's pretend we went to high school together on facebook.

p.p.p.s. Google + is another place you can read the same thing I posted here.

p.p.p.p.s. I'll tumblr for ya.

Into the Supercontext part 13: The Invisibles Vol. 1 No. 13

(Image stolen from ComicVine.)

The Invisibles Vol. 1 No. 12

"Best Man Fall"

Written by Grant Morrison.  Art by Steve Parkhouse.  Colors by Daniel Vozzo.  Cover by Sean Phillips.

A Vertigo comic book published by DC Comics in 1995.  

This comic man.  This comic.
This comic is a soul crusher.

This issue is another of the stand alone comics and there is really no indication that it has anything to do with The Invisibles right up until the end when you find out it is connected to King Mob's group in the worst possible way.

This comic is a slice of life story that takes slices from one man's entire life.  The comic is about a man named Bobby Murray.  Morrison uses non-linear storytelling to show bits from his whole life and to move them around like jig saw pieces only to reveal the full image at the end.  And by non-linear, I don't just mean that he has moved scenes around, I mean that the narrative changes time and place in some cases from panel to panel.  Parkhouse's art is perfect for this thing.  His style is realistic and understated but the main character's face has exaggerated features (more like an Archie comic than a Vertigo comic) making it easier for that good ol' reader-onto-character projection that the good comics do so well.  They use some brilliant panel arrangements including black and blank panels for pacing.  It is one of Morrison's most powerful single pieces of storytelling.

The story is about the life of Bobby Murray.  He's from a working class English family.  We see him playing soldier as a boy.  We see him fighting as a real solider as a young man.  We see him as a sick young boy.  We see him as a wounded soldier.  Fireworks as a boy.  Bombs as a solider.  Bullied by his brother as a boy.  Shunned by his brother as an adult. Cared for by his mother as a baby.  At his mother's funeral.  We see him as a boy frightened by a gas mask.  We see him comforted by his teddy bear.  We see him fall in love.  Get married.  Have a child.  The child is ill with cerebral palsy.  There are good times with his wife and bad times with his wife.  And the bad times leave bruises.  It's the best of times and worst of times from panel to panel.

I've always thought that storytelling is at its most powerful when the story is told the same way we remember our lives.  That is how this comic works.  Thought inspires thought and they are all juxtaposed on the canvas of our memory in the theater of our mind's eye.  Morrison gives us the whole of this guy's life in little slices.  And you feel for him.  Or at least I do.  This guy is a good guy.  He's trying his best.  He has played by the rules.  Served his country, worked hard etc.  And life is still a mess.  Life is hard.  It's... well frankly, it is damned depressing.  I personally can see so many of my own life's disappointments in this thing that it's hard to read.  But they are every one's disappointments.  We all live, we all fall, we all die.

If this story were told in a linear order, it would end like this;  Our man Bobby is out of the army.  He's desperate.  His marriage is in rough shape.  He has a daughter that needs a lot of care.  He needs a job.  It seems like a great opportunity when he gets a job as a security guard.  Things might just get better.   But unfortunately, his security job is at Harmony House from the first story arc of The Invisibles.  And unfortunately, his fear of the gas mask image is realized when he crosses the path of King Mob in his crazy gas mask headdress.  And we see that poor Bobby turns out to be one of the guards King Mob kills in that first story.

Not a bad guy.  Just a guy trying to get by.

But this is not a linear story so we end not with a dead soldier or dead security guard.  We end with Bobby as a young boy playing soldier and playing at getting shot down.

"It's only a game."

Annotations at The Bomb.

So there we have issue 12 of volume one completing a year's worth of The Invisibles.  We've established the world.  The good guys.  The bad guys.  Next we look closer at some of the characters.  But first, letters in Invisible Ink.

*********

Here endeth the first year of THE INVISIBLES, with the magnificent artwork of Steve Parkhouse to play us out and into the coming Apocalypse.  And now, a Public Service announcement:

Best Man Fall, for those of you unfamiliar with the game, is played by children in Scotland and possibly elsewhere.  The rules are savage and simple- one person takes the part of a soldier and the other players represent his opponents.  The soldier is allowed to choose the imaginary  weapons used against him.  He then runs wildly at his opponents and is cut down mercilessly by gunfire or shrapnel or whatever.  The object of the game is to "die" in as spectacular, theatrical or brutally realistic a manner as possible.  When the original "soldier" has been killed, one of his opponents takes over, while the soldier gets to join the team of killers and the process repeats itself.  When everyone has had the opportunity to be killed by his peers, the winner is judged on the basis of his performance.  The winner is the player who "died" most convincingly.  Herein lies wisdom.
As usual, there were so many good letters that it seems criminal not to be able to print them all.  Rest assured that, even if you don't get a reply, every letter is read, reread, lovingly sealed in Mylar and buried in lead containers, to be read and enjoyed again at a later date by the hair-raising inhabitants of a nightmarish future world.  Meanwhile, here's this month's madcap selection.

(The first letter is a series of words.  Some of them in all caps.  Few of them are sentences.)

I'm so glad I'm not the only one, Jesse.  Yes, it is White, isn't it?

(The next is from a lady named Nina who claims THE INVISIBLES is the first proper comic she's read.  And she liked it.  Let's just take a moment t acknowledge that a lot of the letters that came into THE INVISIBLES were from women.  Whatever that means.)

Do I deserve such kindness?  Answers on a postman, please...

(Next we have a guy from Victoria University of Wellington's Dept. of Psychology.  Because of course.)

I thought I could be a real smart arse if I started off this reply by saying"thank you" in Maori, James, but my Lonely Planet guidebook to New Zealand has betrayed me and doesn't have "thank you" in its lists of useful words and phrases.  I can, however, now say "mangarakau" which means "plenty of sticks,"  apparently.  Join me now as we try to envisage the cavalcade of situations wherein that particular phrase would be more useful than a simple and courteous, "thank you"...

(The next letter asks Morrison if it is the crack or the heroin and if what they say about Peter Milligan is true.)

It has to be the crack.  All the way from ceiling to floor.  
P.S.  Generally, yes.

(The next letter is from another lady and talks about I Ching and stuff.)

You weren't the only one who noticed the incorrect hexagram, Nerissa.  I'm sure this embarrassing slip couldn't possibly have been my fault, so we'll lay the blame squarely on the doorstep of design wizard Rian Hughes, with his cavalier disregard for the purity and sanctity of ancient tradition.

(And finally a long one from London talking at length about the madness of issue number 9 and Ken Kesey, Terrence McKenna and... Oasis?)

Curiously enough, Anthony, my thoughts on heroic mythology, drugs, evolution and Spandex costumes are explored at length in the ever-upcoming Flex Mentallo series, which attempts to create a post-post-post-modern theory and practice of Transcendental Superheroics.  THE INVISIBLES will also continue to deal with the forward surge of the Evolutionary Current in all of its multicolored manifestations, of course, so I can guarantee plenty more shite where the first load came from.
As for the stuffed dog, I'm afraid that's a sensitive subject with me; my work on stuffed dogs has been callously overlooked in the past and it hurts to pick at those old wounds.  Where were the awards for the heartwarming portrayal of Sheba, the stuffed German Shepherd in DOOM PATROL #45, for instance?  And no one even got to see my stuffed dog magnum opus GORILLAS A-GO-GO, in which Rex the Wonder Dog, trundled obliviously through a story of treachery, psychedelia and lost love.
Oasis?  They're The Rutles of the 90s, arent' they?  Which is fine by me.  
-Grant.


*********

Your best pal ever,

Shannon Smith

p.s. Say you want a leader but you can't seem to make up your mind. I think you'd better close it and let me guide you to my twitter feed.

p.p.s. Let's pretend we went to high school together on facebook.

p.p.p.s. Google + is another place you can read the same thing I posted here.

p.p.p.p.s. I'll tumblr for ya.

Into the Supercontext part 12: The Invisibles Vol. 1 No. 11

(Image stolen from ComicVine.)

The Invisibles Vol. 1 No. 11

"Royal Monsters"

Written by Grant Morrison.  Art by John Ridgway.  Colors by Daniel Vozzo.  Cover by Sean Phillips.

A Vertigo comic book published by DC Comics in 1995.  

Another of the one-shot stand alone run of stories.  This one focuses on the behind the scenes of the bad guys.  The Outer Church.  We get in deep with one of the series' primary baddies, Sir Miles and he is as despicable as they come.  This comic is a horror comic complete with a monster and haunted castle.

We start off in Glamis Castle.  "Ancestral home of the Earls of Strathmore for over 600 years. Glamis is a living, breathing monument to Scottish hospitality; a place of enjoyment, reflection, laughter and wonder for all. The castle has witnessed more than 600 years of history and we take great delight in sharing the many stories, secrets and intriguing tales that surround it."  In 1995 I'm reading this comic and I don't have teh inronets so as far as I'm concerned Glamis Castle may as well be the castle in a Disney movie.  All the same to me.  But yeah, real place and probably important to people that care about that sort of thing.  But according to this comic book (and teh intronets), that place is bad biscuits.  And who am I to argue?  I'm just going to assume that this comic book about a place I'm probably never going to go to is 100% factual.

In the castle a butler rolls a cart of meat (human meat) into a room and places it in front of a giant mirror.  The butler does some secret hand gestures, the mirror does some crazy water ripple magic mirror stuff and out walks a cloaked monster.  The monster is part man, part Swamp Thing, part Ood from Doctor Who.  A super creepy mute thing that dissolves and consumes the huge carcass.

(Image stolen from Comic Vine.  Good resource that Comic Vine.)

The butler has been at this job for years.  He's one of the only people willing to feed this monster.  He's beginning to think the that the monster likes him.

Then we get some nice happy fox hunting with our pal Sir Miles Delacourt.  Only Miles is not our pal and the foxes are people.  Sir Miles will be a major player in The Invisibles as the series progresses but for now all that is important is that he's nobility, he's rich, he's white, he's Secret Intelligence Service, he's a Freemason, he was behind trying to recruit/enslave/use Dane/Jack Frost back in Harmony House in the first story arch and he wants nothing more in life (at this point in the story) than some alone time with King Mob and a blow torch.

So, in America.  Bored rich white dudes buy sports franchises and watch people from minorities and the lower classes beat the brains out of each other in huge venues the public paid for and broadcast it for the world to see.  In the UK, rich white dudes are more low key.  They dress up for a fox hunt, hop on some horses and go hunt and murder people.  Sir Miles sees this as doing his part to bring down the poverty rates.

Latter, Miles and some other rich dudes are hanging about he castle.  The talk about how disappointed the are in Diana, the Princess of Wales.  (Who was still alive  at the time but would be getting divorced from Charles about a year after this comic came out.)  They are angry that Di has failed to produce for them a "Moonchild".  Some sort of super being that was to take over the throne.  Oh, well.  You can't have it all.  But, the baddies still have a backup plan.  They have another Moonchild.  (Foreshadowing alert!)

Back to the butler, Jeremy, he's feeding the monster again and we learn that our man is a secret Invisible planted in the castle to kill the monster!  But he can't do it.  He has too much empathy for the monster.

In some basement area, another servant is reading a horror book by a "Kirk Morrison".  Our man Jeremy hears some yelling from the homeless people imprisoned there.  He sees a pink haired girl.  The same pink haired girl that was with Dane back in the first arc.  The girl is his daughter Kate!  Oh nooos!

At our next fox people hunt, Sir Miles has let the monster out to have some fun of its own.  It is revealed that the monster is the Moonchild.  The monster is royalty.  This monster will be king!  Well, dang, it was right there in the title all along wasn't it?

Jeremy's daughter Kate is on the run as part of the hunt.  Jeremy tries to save her and show her away to escape but the Moonchild is in the way.  He tries to explain that the Moonchild likes him and the are safe but too late.  Sir miles and the gang show up.  He knew Jeremy was an Invisible all along.  And even worse, Kate was in on it and set her dad up.  Screw you dad!  But, Miles has the girl killed anyway (thanks for you help kid) and Jeremy ends up on the dinner cart for the Moonchild. Served alive.  But Jeremy is not scared.  He still thinks the monster likes him.

And there ends a fantastic episode of the Twilight Zone where we learn that the British royals are breeding space monsters that live in mirrors.  Years later, Grant Morrison would be awarded the MBE.   And speaking of creepy Royal shenanigans, the Queen did have hidden family.

Annotations at The Bomb.

This issue's Invisible Ink column shows us a much more downbeat Morrison than normal.  Probably in part because of the death of a cat.  It happens.  Or maybe because at this point in the series and in the 90s in general, the letter writers have caught onto this idea that it's cool to write some bat shit crazy stuff and send it to a Vertigo comic.  In other words, it has totally gone off the rails.  There was literally a rivalry between the letter writers of Sandman, Preacher and The Invisibles to see who could be more bat shit crazy.  This is a pre-internet thing that happened. 

*********

Many thanks to the stalwart John Ridgway for his fine, classical work on this, the very first issue of THE INVISIBLES without any swearing!
Me, I just got back from Australia, with the redred dust of the antipodean desert still clinging to my Caterpillars.  After a couple of weeks of beautiful sunsets, loveable lizards and the magnificent stars of the Southern Sky, I'm home to no money in the bank, the sad death of Princess - much-beloved cat - and no entirely convincing reason not to end it all with a stiff fistful of vitamins.
But then again... There's always the letters!

(The first letter is mostly praise.  The guy thinks the comic is fun!  Just like Superman and tells Morrison to "Stay outtasight!")

Cranky?  Me?  Nope.  I'm just too depressed to reply this month, John.

(The next letter stars off "Hello, fellow fuckers," and is all downhill from there.)

Just say No, readers.

(The next letter starts talking about the Cathars about half way through and that is the exact moment I stopped reading that letter.)

Who am I?  I'm the writer you created to produce a comic book so uncannily faithful to our own thoughts and experiences that it would serve as a zenlike trigger, bootstrapping you into an illuminated state where you suddenly became  even more aware of the overwhelming number of coincidences and synchronicities that hold the world together, this awareness leasing to a growing understanding that the Universe is nothing more than a construction, a simulation, a laboratory in which souls, for want of a better word, are tested, etc... etc...
And you're one of the readers I created for the same reason...

(Next, "The Consumer Queen" writes in to let the letter reading people of the 90s know that she is a "letter-column virgin" and is bored and wants people to writer her.  See, they used to totally put full street addresses in these letters columns back in the 90s.  I'm positive that this lady has since been murdered.)

Please write to Consumer Queen.

(Then we have a letter that is at least ten million words long.  This guy thinks he has it all figured out and explains it in detail.)

I don't think there's much I can add to that, Simon.  Um... Yes.  Yes!  Everything is connected on every scale, and there is no such thing as coincidence except for the Adrian Henri line which is, unless maybe I remember it from my Chelsea-booted Mersey days...
This is the best letters column in comics, really...

Next Issue:  In the vast and never-ending cosmic struggle of Good vs Evil what makes anyone want to be a bad guy?  And are bad guys born or made?  One man's life may hold the key in the last of our three one-off stories as Steve Parkhouse brings his artistic wizardry to "Best Man Fall" in a month's time.
-Grant

*********

Your best pal ever,

Shannon Smith

p.s. Say you want a leader but you can't seem to make up your mind. I think you'd better close it and let me guide you to my twitter feed.

p.p.s. Let's pretend we went to high school together on facebook.

p.p.p.s. Google + is another place you can read the same thing I posted here.

p.p.p.p.s. I'll tumblr for ya.

Into the Supercontext part 10: The Invisibles Vol. 1 No. 9

(Image stolen from Comic Vine.)

The Invisibles Vol. 1 No. 9

"23: Things Fall Apart"

Written by Grant Morrison.  Pencils by Jill Thompson.  Inks by Dennis Cramer.  Colors by Daniel Vozzo.  Cover by Sean Phillips.

A Vertigo comic book published by DC Comics in 1995.  

Let's talk about this comic as it existed in its original print form for a bit.  First of all, the cover.  Another strong cover by Sean Phillips.  Looking at it again I'm noticing for the 1st time the weird texture in the red border of the comic.  Like a Bible cover?  I'm also noticing that border on the left side of the cover which appears to be on all of the first volume covers, most of the volume two covers and a few of the volume three covers.  Were all Vertigo books like that in the 90s and why am I just noticing that Marvel stole that design with it's Ultimates line?  But back to the cover itself.  We see a hand missing a finger tip just like Jack's hand  and Mob is in a cool pose shooting at us but he does not look confident and sexy like normal.  He looks scared.

Inside the comic we notice that the series is now being printed on a nicer paper stock.  It is whiter than the first 8 issues.  The colors are brighter.  The printing is clearer.  The paper stock is thicker.  I'm a proponent of using the cheapest materials possible but this comic looks good.  And it better because DC jacked up the cover price from $1.95 to $2.50 between issues 8 and 9.  This comic has an advertisement for new music from Mike Watt and Chris Duarte Group.  There is an ad for "DC Comics Online" on America Online.  "If you have a computer and a modem, order your free DC Comics Online starter kit..."  1995 everybody.  There is also and ad for Grant Morrison's great Kill Your Boyfriend.

This comic is the first of a short run of what are basically stand alone comics.  Evey issue of The Invisibles has hints and details that build the overall universe but these next four issues are not a part of any one story arc like the previous eight issues.  But we are still going to read them with both eyeballs.  This first issue of that run wraps up some lose ends form "Arcadia" and gives us a flash back to flesh out the world.

 The comic starts in the past of 1992 with King Mob and the John-a-Dreams character (Remember?  The one we were told Dane/Jack was replacing?) in a Philadelphia church.  Mob has fuzzy hair.  They are looking for the Hand of Glory but they find these gross plant monster things.  John says that they are just vehicles.    That "they build them from Earth plane matter to allow themselves some kind of physical presence here".  Who are they?  Then John opens a door never to be seen again.  (Well, never say never in a James Bond movie or in comics.)

Then we are back in the time travel windmill.  Jack is still ranting about his finger and quiting but no one takes him seriously.  Mob is worried and has a sense that something is wrong.  Mob is worried about there being a traitor that has revealed their time travel codes.  Could it have been John-a-Dreams or someone in the group?  (Subplot alert!)   Fanny and Ragged Robin lament the ruination of Fanny's dress at the hands of Orlando.  But Mob was right, something is wrong.  Ragged Robin's psychic powers confirm that there are Myrmidons outside planning an attack.

The attack sequences here are really neat and unconventional.  On one side, we see the Myrmidons planning their attack and they are not standard action movie dudes.  They actually seem amateurish and clumsy.  And Morrison shows Mob's team in a different light as well.  Normally in action movies or comics, you don't see how the good guys are going to turn the tide until they do it and it makes them look like gods.  Here, Morrison shows Mob's cell try to figure out what to do.  They are actually on the brink of panic and Thompson gets to draw some really funny faces as the gang stresses out.  It makes Mob's team seem like amateurs but more importantly it makes them seem real. Like real people that signed up for this crazy war for the future of mankind.  And like real people, they can freak out when the threat of getting dead shows up.

In the chaos, Jack steals Mob's car and takes off.  The bad news for Jack is that Mob has booby trapped his car and it will blow up in a few minutes.  Mob and his crew get the upper hand on the Myrmidons by playing dead and Mob pretending to be Orlando.  By the time they get through the baddies and find Mob's car it has exploded.  When Mob instructs the gang to look for Jack, Fanny says "What are we looking for darling?  A little lump of smoldering charcoal that says 'fuck' every five minutes?"  Don't be silly Fanny, Jack says fuck every five seconds.

But Fanny has mad skills and finds Jacks trail.  Mob says that they will have to call in The Wolf  Mister Six.  But the baddies have already gotten to Jack and to save himself he is forced to kill a man for the first time.  We end with Jack soaked in tears yelling "AAAAAAAAAA!"  We feel ya bro.  Now Jack is a killer.  Can he leave The Invisibles now?

Annotations at The Bomb.

Next we meet Jim Crow.

But first, letters in another Invisible Ink column.  In this one were are getting into some of the fallout from "Arcadia" including an editorial rebuttal from Stuart Moore.

*********

"SCHOOLGIRLS TORCH TEACH
-- friends laugh as she turns into fireball--"
The Sun - Jan 24, 1995

Quote of the Month courtesy of Britain's liveliest newspaper.  Ahhh - seems like only moments ago I was welcoming Jill Thompson and Dennis Cramer onto the book and now here I stand, waving a snot-stained hankie, as they up sticks and disappear over the horizon for a while, leaving Hotel Invisibles to stand untenanted until the arrival of a guest number four, the Grand Old Duke of Madness, Chris Weston,.  You have have seen Chris' work on the recent "Twilight of the Gods" issue of SWAMP THING and, if you have, you'll understand my own enthralled anticipation.  Meanwhile...
This is The Letters!

(The first letter mentions seeing a The Invisibles poster on the Roseanne show.  In the 90s, Roseanne was like Big Bang Theory but only with quality.)

I made it onto Roseanne!  Subversive or what?  Glad you're enjoying this comic, Brian.  (Couldn't make out your second name, so I've called you "Mercer."  Hope you like it.)  I don't remember putting in any Led Zeppelin reference, so it must have been pretty durn subtle.

(Next a long one with some questions.)

And he's still standing, I'm afraid.   What will you do now...?
King Mob is a master assassin, yes.  Ragged Robin and Lord Fanny are both "witches" for want of a better word.  Boy is a martial arts expert and other-wise quite normal, and Jack Frost is more important than anyone is even aware.  It's true I havent' gone into depth with the characters yet, Jay.  This first year of the book has been set up as a rapid tour around the world of The Invisibles; the opening story arc, for instance, showed the induction of a new member, the second concentrated on an atypical team mission, and the next three one-off issues, will shine spotlights on various other aspects of the Conspiracy, before we return to the trails and tribulations of King Mob's team.  The second year will feature interlinking stories focusing on each of the core cast in turn.  You should know them all fairly intimately by then.

(Then a letter from a dude that really liked Animal Man.)

More of my guts, and everyone else's, I hope, Marc.  Interesting point about ANIMAL MAN.  It occurs to me when I read it that in a team book on breaks one's personality into little pieces - one for each of the main characters - whereas the protagonist of a solo book tends to get a bigger slice of the cake and slightly more depth.

I felt the "cultural walk through" of the "Arcadia" storyline was necessary in order to set up the historical and thematic framework of the series, but I agree with you that it's time to spill some innards - which is why the next major storyline will be pushing our heroes to the physical and emotional limit.
The Shelley/Byron debate surprised me because I started out on Shelley's side but ended up siding with Byron.  Some combination of both would seem to be the sanest response to living and dying in the modern world, whether that's the modern world of 1818 or 1995.

(The next long letter asks about Bluebeard.)

Ah!  Lovable old Gilles de Rais - rapist, child murderer, necrophile, black magician...

(The next letter talks about the "Mature Readers" logo on the cover and what it all means.  He talks about hearing that Vertigo editorial had objected to the Marquis de Sade material in "Arcadia".)

I know how you feel, Alex.  I can't think of any genuinely mature comics published regularly by a mainstream company.  Some of the Vertigo one-shot books have reached beyond the usual strictures but, by and large, comics are still written and drawn for children and young teenagers (which isn't necessarily a bad thing).

And I'm not happy about the changes made to the Marquis de Sade story, but I chose to publish THE INVISIBLES through Vertigo because I like the editorial staff, I like being paid for my work and I like reaching a much wider audience than I would if this were a small press or self-published venture.  The trade-off against that is that I'm bound by the rules and regulations that govern what is and is not acceptable to be a mainstream comics publisher.  I knew that when I went into the deal, and, in the case of INVISIBLES #7, I decided that a little compromise was worth it to get the story out to a mainstream audience.  those of us who have elected to work with big companies as opposed to the small press can only push at the barriers.  I don't think we can be expected to represent the cutting edge of comics.  Let's face it, even the best of the mainstream "mature" books are simply glorified super-hero comics.   That's okay -  I'm very fond of super-heroes and I like to see them done with a little wit and intelligence.  Having said that, you can now read the word "fuck" in a mainstream comic, and who knows what walls may yet come tumbling down in the future?

[ADDITIONAL EDITORIAL NOTE: Just to give a little perspective from the other side of the fence - the "mature readers" label has never been a license for DC to publish absolutely anything.  We have to be confident that we can stand behind the material, especially when it's of a controversial nature and might cause a risk to stores that support us.  In the case of INVISIBLES #7, there were some questions that were settled with, in my view, fairly minor changes.
It's worth noting, Alex, that your letter was written before the issue was published, in response to an article in the fan press.  Why not write us again and let us know what you thought of the story itself?
And, of course, Grant's opinions regarding the relative maturity of today's comics don't necessarily reflect those of the management.  Or the mgt, for that matter.
-Stuart

*********
Ah, so good to see that there through good times and bad, DC comics editorial will always be there to tell the customer that not only are they wrong but their opinion does not deserve to exist.  Gives ya warm feeling right where the heart ought to be.

Your best pal ever,

Shannon Smith

p.s. Say you want a leader but you can't seem to make up your mind. I think you'd better close it and let me guide you to my twitter feed.

p.p.s. Let's pretend we went to high school together on facebook.

p.p.p.s. Google + is another place you can read the same thing I posted here.

p.p.p.p.s. I'll tumblr for ya.

Into the Supercontext part 9: The Invisibles Vol. 1 No. 8

(Image stolen from Comic Vine.)

The Invisibles Vo. 1 No. 8

"Arcadia Part 4: H.E.A.D,"

Written by Grant Morrison.  Pencils by Jill Thompson.  Inks by Dennis Cramer.  Colors by Daniel Vozzo.  Cover by Sean Phillips.

A Vertigo comic book published by DC Comics in 1995.  

"My public persona was punk to the rotten core. Outspoken and mean spirited, I freely expressed contempt for the behind-the-scenes world of comics professionals, which seemed unglamorous and overwhelmingly masculine by comparison to the club and music scenes. My life was rich, and my circle of friends and family was secure enough that I could afford to play a demonic role at work. Reading interviews from the time makes my blood run cold these days, but the trash talk seemed to be working, and I was rapidly making a name for myself. Being young, good-looking, and cocky forgave many sins, a huge hit British superhero strip did the rest and proved I could back up the big talk." Grant Morrison on 80s Grant Morrison.

First of all, I started typing up this post sometime last week.  Then my kids got sick and other things happened and the next thing you know it is today.  Which, as I type this, is November 20th.  Which happens to be Jill Thompson's birthday.  I've probably not said enough about how strong Thompson's art is in this "Arcadia" story arc.  So, yeah, it is great.  Thompson is great.  (And I've never even really read Sandman.)  I've been a big fan for a long time..  And the good news is she did some more stuff in The Invisibles that we will get to later.  (She was nice enough to autograph all of my issues of The Invisibles in which her art appears and it's a pretty good stack of comics.  She's very nice.)

But, back to issue 8 of volume one titled H.E.A.D.  Head stands for "Hedonic Engineering And Development".  So, there's that.  Our Sean Phillips cover has the head of John the Baptist (or is it?) hooked up to some  steampunk gears and junk.  The head appears to be alive.  It is creepy.

Inside the comic, things get more creepy.  The first thing we get is a page of a guy in bondage gear talking directly to us the reader.  Or at least it feels like he's talking to the reader.  He's looking right at us and we don't see anyone else that he is talking to.  He's drunk and he's talking about the world crashing into the "barrier of the 21st century".  He's talking about a bus and wondering who is driving.  The Magic Bus?  The Further bus?  The bus from Speed which came out probably not long before Morrison was writing this comic?  He talks about how guys in the 60s like Timothy Leary and Ken Kesey could see the road ahead and how he fell for all of it and when he woke up and came down it was 1985.  It is drunken rambling but in six panels it pretty much sums up what it was to be looking at the future while standing in 1995.

(Image stolen from flickr.)

The 60s were a big deal in the 90s folks.  It was hip and cool to get into the music and the movies and the fashion but more than that, the cultural leaders of the 60s were mostly all still alive and they had mostly all sobered up and become pop culture philosophers spreading their ministry through VH1 Behind the Music documentaries, movie cameos, reunion tours, Oliver Stone movies, hardcover biographies and the college lecture circuit.  Timothy Leary was still alive when this comic book came out.  He died just a year later.  Leary spoke at my college around the time this comic book came out.  The 60s were before I was born but it was more like a different country than it was a different time.  It was tangible.  You could meet people from there and hear stories about it.  You could get souvenirs from there.  You could touch it.  It's different now.  It's like that different country is still out there but you can only access it via a very expensive Disney cruise ship.  The souvenirs are harder to come by and all that is left is the cheesy mass produced junk.  Leary is dead.  Half The Beatles are dead.  The Stones  are still going but who can afford to see them?  (A=Rich jerks.)

And this guy in this bondage gear on page one of this comic is telling us about it.  Or at least we think he's talking to us until we turn the page and see him in submission to a dominatrix.  He is in a San Francisco S&M fetish club and he's been talking to our pals King Mob and the Marquis de Sade.  Or at least their astral projections.  (Did Doctor Strange hang out in S&M clubs between panels of his Marvel comics.  I'm going to assume that yes, Doctor Strange hangs out in S&M clubs.)  "He was talking about revolutions, or THE revolution.  I suppose there only is ever one." says King Mob.

The Marquis loves the 90s.  "Look at them!  I was sent to the bloody Bastille for doing in private what these bastards are free to do publicly."  Later, Mob and de Sade are on the golden gate bridge and Mob explains that they need the Marquis to help them create the blueprint  for the future of humanity.  The Marquis says he only wants his own perfect world.  Mob explains that in the future they are building, everyone gets what they want.  "Everyone including the enemy."  (Alan Moore would give us a similar future in Promethea years latter.)  Mob lets a silver balloon free to rise into the night sky.  It looks like a sperm cell swimming among the starts.  (I think this is what the literary types would call foreshadowing.)

After that, Mob, Boy and de Sade get their 90s rave on.  Much talk about smart drinks, the world speeding up and spinning out of control, virtual reality and much dancing.  Mob and Boy have to get back to the rest of the gang but they are going to leave the Marquis in San Francisco.  The Marquis is happy to stay.  "And I'm making so many wonderful friends."

Back in the Rennes-le-Chartre Cathedral, Ragged Robin still has to deal with those nasty Cyphermen and the head of John the Baptist. The head sings "You Spin Me Right Round" by Dead or Alive.  It talks about things speeding up also.  But Robin is too smart for all of this.  She knows that the head is just speaking glossolalia.  Speaking in tongues.  You hear what you want to hear.  Robin does not need the head so she leaves.

In the other way back times Percy Shelley is still a mess over the loss of his child. He's talking to Byron but Byron turns out to just be his imagination.  Percy realized that utopia exists only in our minds.  When last we seek Percy, the throws his writing to the wind and runs to the embrace of his wife, Mary Shelley.

Back in the T.A.R.D.I.S. windmill  Lord Fanny and Jack Frost still have to deal with that Orlando creep.  Jack manages to shoot Orlando but it barely hurts him.  Orlando is equally surprised that his slash of Fanny's chest did no harm.  Fanny shows that all he hit was the latex and silicon of his fake breasts.  "I'm not half the woman I used to be.  Thanks to you."  says Fanny.

Fanny summons up the powers of Aztec god, Mictlantecuhtli.  This actually terrifies Orlando.  He is a demon and knows when he's outmatched.  Jack knife's Orlando's hand to a wooden beam.  Orlando explodes and melts into beams of light and is cast into hell.  Don't mess with Lord Fanny.

Mob, Boy and Robin finally make it back to the windmill.  The gang has all made it through this "Arcadia" story arc alive but Jack has had it.  Jack thinks time travel and getting your finger clipped off is bad biscuits and he wants out.  "You can take your fucking Invisibles and shove them up your arse!"   Meanwhile, outside, some unrevealed baddies have the windmill in their sights.

In the last two pages we are under a bridge.  There is a troubled young man (who reminds me a lot of a similar young man from Flex Mentallo) contemplating an offer.  The offer is from the Marquis de Sade.  The Marquis pulls up in Mercedes with a teenage girl chauffeur dressed in black vinyl.  "She smells of fresh rain and sex."  He gets in the car with the Marquis to join his brave new world.  He is offered the blank badge.  "He tells me that I have left the houses of the dead and entered the land of the truly living.  I am to be no particular age, no particular sex.  I am to be fluid, mercurial.  He tells me I must slough my name and my past as a snake sheds it's skin."

"Mercurial".  Just like exactly like Negative Man on the moon back in Doom Patrol in 1992.

And with that we end the "Arcadia" story arc and what I think would be the first The Invisibles trade paperback "Say You Want a Revolution".  It was a hell of a ride.  It literally took a lot out of me.  I think this is at least the fourth time I've read it and it still lays a smackdown on the brain.  It is a challenging work.  The time travel plot with Orlando as the baddie is really just a frame through which to view four comics full of philosophy.  The first story arc introduced us to the world of The Invisibles through Dane's eyes.  Now, in this second arc, Dane is Jack Frost and he is given a horrific education.  This arc was too much for a lot of people.  It was too much for some people at DC Comics as well. We will see the repercussions of that in our next few Invisible Ink columns.

For me, I love it.  It's great fun.  Time travel, demon assassins, 90s rave culture and just crazy ass stuff in general.  But mostly I love it and I return to it because it makes me think and makes me ask questions.  Questions I still don't know the answers to 17 years later.  But I still enjoy asking them.


Annotations at The Bomb.

Next, "Things Fall Apart".  Like they do.

But first, letters in another Invisible Ink column.  In this column, Morrison hands over some of the responding to someone named Magdalena.  Like ya do. 

*********
(The first letter is from a dude that calls Morrison, "Grant, m'luv".  He asks grant to never devote himself to normal serious storytelling.  Congratulations dude writing a letter in 1995!  Mission accomplished!)

Not surprisingly, I suppose, I tend to concur with your comments on "weird stuff," Joshua.  all I can do is write about the things that delight, amuse or scare me senseless.  If those things seem "weird" to people then... umm... funny, I totally agree with you but I can't really seem to think of anything else to say...
[Hi Josh! Magdalena here - Grant's just gone to feed the cats so I'm briefly taking over the helm.  Actually, dahling, you've really put us on the spot -  you're so nice and intelligent and well-read that all we can say is, "You're fab, we like you."  Please write again, but promise to be more contentious next time because Grant likes the bad boys best.  Back to Mr. Sensitivity for the rest of the replies...]

(The next letter is all hugs and kisses and a guy named Mickey writes "Chin-chin". Recreational drug use was pretty rampant in the 90s people.)

My pleasure, Mickey.

(Then a long letter about how some people don't get Morrison's plots but of course the letter witter does because he is super clever.)

I'm no philologist but... I believer that the charming and poignant word "arse" is one of those original, shamelessly earthy Anglo-Saxon words, like "fuck and "c**t" (we still can't say that one), which seem to cause so much distress these days.  "Arse," as far as I can figure it, was streamlined to the harsher Mass by Americans drunk on the heady wine of Revolution.  Like you, Matthew, I don't give a fuck about the overuse of so-called swear words.  IN hsi wonderful book Quantum Psychology, Robert Anton Wilson deals very effectively and amusingly with the inexplicable taboos surrounding "fuck" and its brothers ans sisters in the despised family of "filthy" words.
As for traveling across the globe, it can be done very cheaply and certainly isn't the exclusive province of the rich.  Round-the-World air tickets start at around $1000 but it's possible to cirumnavigate the Earth on a great deal less money if need be.  I also tend to stay in inexpensive hostels or nightmarish, bug-infested hovels, which keeps the costs down and ensures that you meet more interesting people.  In places liek India or Southeast Asia, you'll find that you can live like a bleedin' lord for a few dollars a day.  Cheap holidays in other people's misereeee!  Which is to say, I'd advise anyone to make the effort to travel.
E-mail?  No idea.  I just got a modem at Christmas and it's still in the box.  I can tell you loads of great things to do with boxes, if you like.

(The next letter is from a lady who is not impressed with the drub use in the comic.)

Right on, sister!
The case of John Lennon is an interesting one since (and I think most people would probably agree with me) Lennon's most disciplined, inventive and musically revolutionary work was produced during a period when he was either high on speed, cannabis or LSD (with the real fireworks happening when the and the other Beatles discovered acid around the time of the "Revolver" album).  To portray him as a psychedelic deity seems to me to be a perfectly appropriate tribute to the man who wrote "Tomorrow Never Knows,"  possibly the most psychedelic song ever (and that tow-page sequence was, as I've explained before, largely autobiographical.  That's how Lennon appeared to me during a specifically-designed ritual and that's how I chose to portray him in what is, after all, a work of fiction.)  I certainly don't think that drug use can make a person creative or rebellious, but if that person is already creative, then some drug experiences can provide new ways of looking at things and new inspiration.  It doesn't happen all the time, but to deny that it happens at all is to rewrite the history of art, music and literature.

(The next is form another lady who is more supportive and talks about agreeing with Morrison's ideas on choosing who one wants to be.)

Definitely.  Why be one person when you can be two, or a hundred?

Seeya in thirty, pilgrims!
-Grant

*********

Your best pal ever,

Shannon Smith

p.s. Say you want a leader but you can't seem to make up your mind. I think you'd better close it and let me guide you to my twitter feed.

p.p.s. Let's pretend we went to high school together on facebook.

p.p.p.s. Google + is another place you can read the same thing I posted here.

p.p.p.p.s. I'll tumblr for ya.

Into the Supercontext part 8: The Invisibles Vol. 1 No. 7

(Image stolen from Comic Vine.)

The Invisibles Vo. 1 No. 7

"Arcadia Part 3: 120 Days of Sod All"

Written by Grant Morrison.  Pencils by Jill Thompson.  Inks by Dennis Cramer.  Colors by Daniel Vozzo.  Cover by Sean Phillips.

A Vertigo comic book published by DC Comics in 1995.  

First, a few random things about this comic book as it exists here in its original print form;  The inside cover ad is for Mat Wagner's Sandman Mystery Theater.  The copy reads "ALL HE WANTS IS HIS POUND OF FLESH".  Nice.  There is an ad for Beavis and Butt-Head VHS tapes.  "Stick it in.  Press play."  There is an add for new CDs by The Stone Roses and Rancid on sale at Musicland and Sam Goody.  The Vertigo subscriptions ad (remember subscriptions?) includes Animal Man, The Books of Magic, Hellblazer, The Invisibles, Sandman, Sandman Mystery Theater, Shade and Swamp Thing.  And the inside back cover ad is for a new ongoing monthly series titled Preacher.  "IT'S THE TIME OF THE PREACHER.  GOD HELP US."  Indeed.

Let's talk about this cover a bit.  First of all, it is lovely.  And creepy.  A gloved hand holds a branding iron.  We'll see a branding iron in the comic.  A woman's hand holds a rose from which petals are falling.  We will see that inside as well.  This is another cover that is more in line with what we could see in the genre section of a book store than the comics racks of the 90s.  Which, again, is part of what turned out to be a winning strategy for Vertigo in appealing to an audience beyond that which was buying four copies of each new issue of Spawn.

Inside the comic... sweet mammity hambone, this one is a doozy.  In our last issue, time travel went wrong and King Mob's team is split up.  In this issue we get four different narratives.  Mob, Boy and the Marquis de Sade are sent one way, Lord Fanny and Jack are sent back to the windmill,  Ragged Robin is sent to... wait, we'll get to that later and we have a fourth story with the our dear friends the Shelley family.

But the opening pages of the comic are a hardcore brain donkey punch.  We start with four characters.  A banker, a judge, a bishop and a duke.  Money, law, religion and the ruling class.  And they inform us that they have locked themselves up in a castle with twelve women, eight men and another sixteen people they call "lost souls". (The "lost souls" are young and make this exponentially more creepy.)  The four men consider themselves gods and plan on doing every evil, nasty, disgusting, forbidden, taboo and just plain awful thing they can think of to the people they have trapped in there with them.

So, um, who the F are these guys and what the F is going on right?
Well, it turns out that when the time travel went wrong that Mob, Boy and the Marquis ended up inside the "Optic Sphere" which has taken its image off the  postcard of "Arcadia" by Poussin from the previous issues.  But it expands from there and they realize they are trapped in one of de Sade's stories.  Mob explains that there is nothing for them to do but play it out and treat it all like a dream until they find the exit.  The Invisibles are all about finding exits.  So, the group has no choice but to enter the castle of de Sade's story and watch how things play out with the banker, the judge, the bishop and the duke.  And it is going to be horrific.  Even de Sade can't believe his eyes.  What we are seeing is a graphic re-enactment of de Sade's "120 Days of Sodom" but I'm reading this for the first time in 1994 or 1995 and I've never read anything by the Marquis de Sade at that time.  And this is hardcore stuff.  People are branded.  People are raped.  One of the four wants to impregnate a boy.  Another wants to smear his feces across the face of the moon.

The Marquis tries to explain that his story was not trying to inspire this kind of thing but that he was condemning the hypocrisy of his age.  But Mob gives him an elbow nudge and ribs him into admitting that he does kind of enjoy it.  After many horrible scenes are shown, hinted at or spoken about, the four archetypal monsters conclude that none of it has been enough.  That they need more.  That they need a fifth.  They need a general.  Then a box appears.  It is some sort of bomb obelisk with one big red button.  A youth is forced to push the button with their tongue and things dissolve/explode to white.  Nothingness.   The four men represent the evils of the age of reason but the reader is also painted as guilty for just for having been a witness.  This is the worst case scenario ending of a world driven by an ideal of reason and the pursuit of knowledge.  Is this a condemnation from Morrison or just things playing out to a logical conclusion?


Mob, Boy and de Sade find themselves outside in melting snow.  The bad dream has ended.  They find a car and Mob tells de Sade that he is going to love San Francisco.

Jack and Lord Fanny are back in the time travel windmill where last issue ended with creepy evil jerk face Orlando cutting off Jack's finger tip.  Orlando eats the finger!  Oh, man that guy is the worst!  But Lord Fanny ain't having none of that and jabs Orlando in the eye with her high heeled shoe.  Jack finds a gun but it won't fire.  Orlando slices Fanny's chest and we leave that part of our cast with Orlando about to attack Jack.

The Shelley's, Percy and Mary are in Venice.  Their child has died.  Percy is devastated but Mary is strong.  While Percy was dreaming, his child was dying.  But Mary is the link to the future here.  She invented the future with Frankenstein.  She can move forward.  On a Venice bridge a flower petals drop from Mary's hand into the water below.

Ragged Robin finds herself at a strange church.  A strange man is playing chess.  (The Blind Chessman.)  He explains that they are Rennes-le-Chateau.  The man explains that the church was restored with particular attention paid to Knights Templar legend.  This is before The Holy Blood and The Holy Grail was plagiarised into The Da Vinci Code.   An inscription on the church reads, "This Place is Terrible".  But Robin enters anyway.  Inside she finds some Cyphermen baddies.  They have found the oracle they had been searching for.  There on some sort of steampunk machination sits the head of John the Baptist! 

Annotations at The Bomb.

And now letters in another Invisible Ink column.

*********

So that was the "controversial" issue #7.  No big deal, huh?
I'm always surprised by the number of letter writers who want to see lists of my reading/reference material.  I tend to resist these requests, on the grounds that they provide nothing more than the opportunity for me to flaunt my intellectual bona fides, and show off how clever and well-read I an pretend to be.  However, since this particular storyline has been unusually heavy on boring research, since I still only have a couple of letters in on #4 and since so many people have expressed a genuine curiosity about the background to this stuff, I've decided to break my own cherished rule.  Here then, for the interested out there, is the ever-loving' list of books I read, reread or consulted for the "Arcadia" storyline.

The Holy Blood and the Holy Grail - Michael Baigent, Richard Liegh and Henry Lincoln
Poetical Works - Shelley
Shelley - The Pursuit - Richard Homes
Bloody Poetry - Howard Brenton
Ariel - Andre Maurois
The Illuminoids - Neal Wilgus
Aztec and Maya Myths - Karl Taube
Words of Fire, Deeds of Blood - Loivier Bernier
The Guillotine and the Terror - Daniel Arasse
The Marquis de Sade - Robert Del Quiaro
The Passionate Philosopher - A de Sade Reader - Selected and Translated by Margaret Crossland
Dark Eros -  Thomas Moore
The Sedian Woman -  Angela Carter
Sexual Anarchy - Elaine Showalter
When the Whip Comes Down- Jeremy Reed
Mary Shelley - Muriel Spark
Secret and Suppressed - Edited by Jim Keith
Teh Voudoun Gnostic Workbook - Michael Bertiaux
The 120 Days of Sodom - The Marquis de Sade
The 120 Days of Sodom (play) - adapted by Nick Hedges
Coleridge: Early Visions - Richard Holmes
Monsterous Cults -  Stephen Sennitt
The Electric Kool-Aid Acid Test -  Tom Wolfe
On the Bus - Ken Babbs and Paul Perry
Cyberia - Douglas Rushkoff

So there you go.  Now it's time to let some readers get a word in edgewise.
-Grant Morrison

(The first letter is from a guy from Texas that is clearly on drugs.  He apparently got some stuff signed by Morrison at San Diego in 94 and thought that was rad.  He asks about Moonshadow.)

I imagine the rights to MOONSHADOW probably were and still are owned by the creators, David, and my apologies for not speaking to you at San Diego.  I'm usually jet-lagged and brutally hung over at these events and only speak to people if they speak to me first.  How I long to be capable of turning out the easy chat and carefree bandinage that Neil Gaiman fans are so familiar with, but sadly, I'm destined to live and die as a surly junkyard dog who can offer no words of advice and encouragement to my readers.  Maybe next time...

(I think the record shows that we here in 2012 know that Morrison got better at the whole con thing.  Or at least good enough to be the main event at his own show.   The next letter is from "Spunkmeyer" and is full of words and thoughts on Morrison's previous works like Arkham Asylum, Sebastian O and The Mystery Play.  )

Nice to hear from you again, Spunkmeyer.  It's always heartening when somebody notices stuff like the Joseph Campbell archetypal-patterns material.  Any thoughts on Dane's recently Wounded Hand, then?

(The next letter writer is a bit disappointed but plans to hang around.  What a soldier!)

Two letters in two issues, Mark!  You must be up for one of those acronymic awards Stan Lee used to hand out.  Sorry to disappoint you with #4 but there's no going back now.  I'm pleased to hear that you'll be hanging around, however, and you'll be happy to know that Dane won't always occupy center stage.  Unlike you, however, I'm very fond of the character and still intend that this series will chart his progress towards... um, "enlightenment."  He's only shallow because he's had to be in order to survive, bu surely self-destructive, thoughtless, rude and offensive little yobs are very bit as deserving of information and illumination as anyone else.  More so, perhaps.  Surely you dont' believe that "arcane knowledge" is the sold province of sensitive, well-brought up, middle-class boys with glasses and treasured paperback copies of The Lord of the Rings on their shelves? (Hi, Tim!)

(The next letter is from H. The Wolf.   The Wolf says some words including "No bread, no art".  The 90s Vertigo letters pages everybody!)

The happiest years of my life are right now, Mr. Wolf.  I was poor for twenty-seven years and it was crap.  Nor do I believe souls can be sold.  Who's selling?  Who's buying?  Whats the currency look like?  The most decadent luxury of all is to lie back in comfort, gently flagellating oneself for having sold one's soul.  In fact, I simply must try it later this evening.
Knowing you know all this, saying it anyway, filing up space.

(The next letter is from a guy who is writing his first letter to a comic book in ten years.  And he threatens to write poetry.)

And when you've written it, send ti to SANDMAN.  They can't get enough poetry in that letters column.  There's probably loads of my stuff you've missed but I don't have space for a checklist.  Some kind soul may be able to send you one.

*********

Tune in next time as we wrap up "Arcadia".

Your best pal ever,

Shannon Smith

p.s. Say you want a leader but you can't seem to make up your mind. I think you'd better close it and let me guide you to my twitter feed.

p.p.s. Let's pretend we went to high school together on facebook.

p.p.p.s. Google + is another place you can read the same thing I posted here.

p.p.p.p.s. I'll tumblr for ya.

Into the Supercontext part 7: The Invisibles Vol. 1 No. 6

The Invisibles Vo. 1 No. 6

"Arcadia Part 2 Mysteries Of The Guillotine"

Written by Grant Morrison.  Pencils by Jill Thompson.  Inks by Dennis Cramer.  Colors by Daniel Vozzo.  Cover by Sean Phillips.

A Vertigo comic book published by DC Comics in 1995.  

 "I don't believe in average people.  SANDMAN does very well, and while I recon it's unlikely that anybody, including I suspect Neil himself, will ever repeat the SANDMAN sales-with integrity phenomenon, I'd like to think that there are enough readers both within the traditional comics audience and outside to keep something like THE INVISIBLES on its feet." -Grant Morrison.

Hi friends.  I had some further delays but I'm back at it, hoping to get caught up and on track to get through the complete The Invisibles before the end of the world

Again, I'd like to look at this cover for a bit.  Its a nice one by Sean Phillips.  A bit more subdued than other colors.  Very minimal pallet.  It reminds me of the type of cover you would see on a mass market mystery/thriller novel at a book store.  I think it is a very good representation of the changes DC and specifically Vertigo were making in the 90s as to how they package and market their books to audiences outside of the super hero devotees.  Look at how the creators names are listed in much the same way you would see names printed on a genre novel.  And the simple design that looks about the same from 10 feet away from a book store table as it does close up.  DC was way ahead of the competition as far as this kind of design sense goes.  They were ahead then and they are ahead now.  Although I'd argue that they have lost a lot of their good taste in the past couple of years.

The color is a bit drab compared to the very colorful team that makes up The Invisibles and compared to previous covers but it is focused on one of the bad guys (a Cypherman) and I think it does sell that idea of ethereal mystery that the series is trying to sell.  Morrison is still building the world at this early stage and the cover does a good job of playing up the horror elements.

The comic picks up where issue 5 left off in the shadow of the guillotine in France 1793.  "Christ!  I always forget just how bad the past smells," says time windmill time travel King Mob.  The team begin looking for clues as to the whereabouts of a local agent that will lead them to the one they have been sent to extract.  Mob reveals that it is non other than the Marquis de Sade that they are there to rescue.  "Oh terrific, first time travel.  Now S and M." says Boy.

The local agent Etienne summons the team through some incantation and is shocked when they show up.  "Somehow it's always a surprise when it actually works isn't it?" says Mob.  Local guy takes them in a horse drawn wagon which allows some exposition as he gives them a tour of Paris.  Etienne tells them about some crazy monsters eating the bodies out of the mass graves.  The Invisibles don't have to wear period clothes because people's brains just fill in the holes and make them think they fit in.  Very Doctor Who of people's brains.  But Jack Frost's brains are not working so great.  All the time travel business is making him sick.

Next we get a beautifully drawn Jill Thompson page of Mary Shelley traveling in a coach and reading a letter from her husband Percy.  A mysterious dark haired man hands her an apple. Shelley.  Poets. Apple. Beatles. Etc.

Back in Paris, Etienne is talking about the Invisible College.  Morrison is developing that idea that The Invisibles have been around forever and there are ways for individuals to join without having been recruited.

Meanwhile back to the future of 1995 (or 94 maybe) bad guy Outer Church agent Orland is being creepy and disturbing nailing dogs to doors, putting heads on lamp posts, wearing someone else's face and playing "Pop goes the Weasel" on a record player.  Like ya do.  Orlando gets a call about the time travel wind mill.  Uh oh!

Back in Paris past Etienne goes on about all the weird goings on and creatures and Mob finally pieces together that the monsters are Cyphermen.  (Rhymes with Cybermen.  Again with the Doctor Who.)  Cyphermen are "humans who've been modified by high frequency subliminal transmissions" to be loyal to a hive mind.  Bad biscuits!  But don't worry, Mob is excited because it gives him a chance to play with his cool looking space ray gun he calls the "Ghostbuster".

Then we are finally with the Marquis in some awful hospital where the living share beds with the dead.  The Marquis is short and sixteen years in prison have left him fat and angry.  "Hurry? By fuck, citizen!  I'll hurry for no man!"  Thompson's drawings of the Marquis are great in this thing.  The Marquis stumbles upon three Cyphermen feasting upon some poor naked dead lady's guts.

Back in the coach with Mary Shelley and the mysterious stranger.  The stranger has recently read Frankenstein.  The stranger talks about the Invisible College.  Shelly has heard about them and says that she heard they were behind the revolutions in American and France.  (This scene is years after the revolution where Mob's team is hanging out.)  The stranger says that "we need our poets and dreamers" and wishes Shelley to be strong and take care.  He never reveals his name.  Let me just say that these Mary Shelley pages are beautifully drawn and colored.

Back in Paris the Marquis is watching the Cyphermen feast on naked lady guts.  They want de Sade to join them in the feast but he is paralyzed with shock.  "I've imagined the human body, the female body, subject to every outrage... but this... to see this... here... real..."  But just as the Marquis gives in and begins to touch the lady buts, the door busts open from the force of King Mob's book as Mob yells "Bollocks!"  Mob uses his Ghostbuster gun to take out the baddies.

Mob explains that they need the Marquis (or at least his astral projection) to come with them to the future.  He reveals that the naked lady was never a lady at all but a rat.  He had been manipulated by the Cyphermen.  But no time to be freaked out.  Ragged Robin is getting bad vibes.  Something is wrong.  They need to go.  They focus on the Arcadia postcard to go back but it all goes wrong.  Instead they find themselves stuck in the postcard!  But that's not the worst part.  Orlando is in the time windmill with their real bodies.  We see panels featuring the guillotine chopping off heads mixed in with panels showing Orlando cut off the tip of Jack Frost's finger with garden shears.  Eww.

That scene has a lot of impact.  Something about chopping off a finger tip that is more tangible than more serious injuries or even death in fiction. Yep, there is no way around it.  Orlando is bad biscuits.

Annotations at The Bomb.

Up next "120 Days of Sod All"!

But first, letters in another Invisible Ink column.

*********

(This Invisible Ink column starts off with a letter as opposed to Grant himself.  The first letter talks a lot about the Illuminati and Roshaniya and asks some questions about Morrison's plans with these secret societies.)

Thanks for bringing the Roshaniya to my attention, Rux.  These days, Islam has become so thoroughly identified with fantatical fundamentalism that people tend to forget the Mohammedan religion's mystical and esoteric fringes.  One of the upcoming story lines for the third year of this book brings in a great deal of material from the Moslem world, and I'll definitely add the "illuminated Ones" to that spikey eastern stew of a story arc.  As for catching the buzz, I think that's exactly what I'm doing as the following letter, one of an outrageously high number of very similar letters, may indicate:

(The next letter is full of praise, Knights Templar and how aliens may want to take Morrison away.  Standard stuff.)

They want me, they're gonna have to go through my ultra dimensional scorpion sorcerer pals, and those fuckers can rip the shit out of any ol' ET.  Like I said, I've had tons of letters from people telling me that they've been working on, or planning to publish, projects very like THE INVISIBLES.  Perhaps it's just millennium fever, but something major seems to be stirring in the human collective unconscious.

(A long letter full of praise.)

Blab all you like, Greame.  This here's Blab City.

(The next letter has some praise then pulls out a soap box to talk about hypocrisy and chaos and evil and all that jazz.)

I don't think we're evil at all, Alexander, just stupid and scared.  And some of us have more power than stupid and scared people can be trusted with.

(The next letter talks about how dense the series seems to be and asks some questions.)

Fnord yourself, although I wouldn't agree that Dane was brainwashed.  As far a I'm concerned, breaking down buried psychological blocks (such as those surrounding Dane's long-suppressed feelings for his absent dad), is a de-conditioning strategy rather than a brainwashing technique.  I can vouch for this, as I've had it done to me quite recently by a therapist using a system based partly on the theories of Wilhelm Reich.  (Reich believed that traumatic and emotionally-unresolved experiences are stored in the body where they manifest themselves in the form of recurring health problems, such as asthma, migraine, chronic muscular armoring, and even cancer and heart disease.  Release of the tensions locked up in our bodies "unfreezes" the withheld emotions and we re experience and integrate the original hurtful event.   This leads to a release of bound-up energy with corresponding feelings of well-being and bliss.  It also breaks the cycle of pointlessly repetitive behavioural and emotional patterns.  Incidentally, these and other ideas were considered so dangerous by the U.S. government that, in 1956, the had Reichs's laboratory destroyed and his books burned.)  As for the "average" reader, who needs him?  I don't believe in average people.  SANDMAN does very well, and while I recon it's unlikely that anybody, including, I suspect Neil himself, will ever repeat the SANDMAN sales-with integrity phenomenon, I'd like to think that there are enough readers both within the traditional comics audience and outside to keep something like THE INVISIBLES on its feet.  I could be wrong, of course.  It wouldnt' be the first time.  Having said that, the "Arcadia" storyline is as "difficult" as the book will get, so if people can handle this, the shouldnt' have too much trouble with the upcoming feast of gore, guns, bombs, and metaphysics.
Answers:
1) The King Mob character appeared in some of my earlier published and unpublished work under his real name.  He has since shaved his head and taken to wearing clothes you may have seen in fetish magazines like Skin Two and .
2) I'm not allowed to answer this one for copyright reasons (Crazy Jane belongs to DC, Ragged Robin belongs to me), but I'm sure you've thought long and hard about what happened to Kay Challis after she left Danny the World.
3) Blank badges are cheap and easy to make.  Go to it.
4)  They're not Lobster Men and they're not from Venus.

(And the last letter is a long one from Charles J. Sperling and is mostly praise with a few bits to point out how clever he is.)

Julie!  Julie!  Charles J. Sperling just called you an orangutan!  Hope you enjoyed your trip to Southeast Asia, Charles.  I spent a couple of weeks in Malaysia when I was doing my round the-globe bit but i was mostly in Penang and Singapore on the buses and trains. By now, you'll have realized that the hunters didnt' kill Dane because they were King Mob's group pretending to be hunters.  (For more on the real homeless-hunters, as seen in #2, you'll have to wait for the upcoming INVISIBLES #11.)  As for the couple preparing the Hand of Glory, they'll make a lot more sense when you've read the story arc "Sensitive Criminals" next year.  It may help to tell yo that the "Hand of Glory" scene was not the first appearance of those two in these pages.  One of the problems of doing a long story in monthly parts is that some elements may appear to be arbitrary and inexplicable but, res assured, everything will come together if you keep reading.
-Grant.

Next Issue:
Cruelty, perversion, degradation, innocence defiled, and vice triumphant.  Welcome to the wonderful world of the Marquis de Sade as the Invisibles endure "120 Days of Sod All."
-Grant
*********

Your best pal ever,

Shannon Smith

p.s. Say you want a leader but you can't seem to make up your mind. I think you'd better close it and let me guide you to my twitter feed.

p.p.s. Let's pretend we went to high school together on facebook.

p.p.p.s. Google + is another place you can read the same thing I posted here.

p.p.p.p.s. I'll tumblr for ya.

Into the Supercontext part 6: The Invisibles Vol. 1 No. 5

The Invisibles Vo. 1 No. 5

"Arcadia Part 1 Bloody Poetry"

Written by Grant Morrison.  Pencils by Jill Thompson.  Inks by Dennis Cramer.  Colors by Daniel Vozzo.  Cover by Rian Hughes.

A Vertigo comic book published by DC Comics in 1995.  (Or maybe it was on the stands in late 1994.  Periodical time is weird.)

Hi friends.  Some personal real life things came up with the weather and the kids and the job etc. and I got super sick.  I'm still very sick but I have enough over the counter medicine in me to be declared a functional meth lab by the DEA so I'll try to press on.   So, this post is a bit late but don't worry we still have time to get back before the end of the world.  The cold medicine I'm on has me in a state where I can not seem to hold a single thought for more than a few seconds but I'll do my best.  Let's pick up with issue number 5.

It is 1995.  The World Trade Organization is established.  Mississippi decides to go ahead and take the radically progressive step of abolishing slavery.  The House passed The Contract With America.  168 people are murdered in the Oklahoma City bombing.  The Unabomber is at large.  Christopher Reeve is paralyzed.  War in Bosnia.  The DVD is announced.  OJ Simpson is found not guilty (despite being guilty).  Tank Girl and Judge Dredd get movies.   Post-Grant Morrison Doom Patrol and Animal Man are canceled.  Image, Dark Horse and DC all go exclusive with Diamond. Tupac goes to jail, has a number one album in jail and gets married in jail.  Jerry Garcia is dead.  

Okay.  We gotta talk about this cover for a bit first.  There are at least four versions that I am aware of.  They are designed by Rian Hughes who did the first issue.  The image I posted above is the front and back of the version I have.  (Only, my copy has Jill Thompson's autograph on it.  Thanks Jill Thompson!)  There multiple versions of this cover with multiple tag lines.  "YOU ARE NOW LEAVING THE TWENTIETH CENTURY", "CRASH THE BUS", "NEW WORLD DISORDER", "WHICH SIDE ARE YOU ON", "BIG BROTHER IS WATCHING LEARN TO BECOME INVISIBLE" and "IN THE DARKNESS WE ARE ALL INVISIBLE" are the ones that I am aware of.  I don't know why there are multiple covers and have only recently become aware of them. It was the 90s and multiple covers was a pretty standard gimmick so I should not be surprised.

The design is fantastic.  It is printed on a brown paper bag kind of paper.  It is a very DIY punk rock kind of cover.  Very rock and roll.  The Who Live at Leeds,  Zepplin's In Through The Out Door... that sort of thing.  That computer font which was not yet over played at that time. It looked both punk and top-secret-government-conspiracy at the same time.  It looked like nothing else on the stands at the time.  And as I said in an earlier post, it was the cover that got me to finally buy in and get my own copies of The Invisibles.

It is a wrap around cover and the inside front and back covers are also part of the design.  Morrison must have really gotten Vertigo to buy into this thing to get them to give up three pages of ad space.  The inside covers read like advertisements for the comic you already bought but also include some get-the-new-reader-caught-up stuff. 
"An organization dedicated to subversive activity in all its forms, it has been implicated in everything from the French and American Revolutions to strange graffiti on toilet walls.  It may be connected to the fabled Illuminati -- it may not even exist in anything but conceptual terms -- but all of its members know that they belong in its ranks, even if they have never met any other Invisibles.  The only rule of the organization is disobedience."

The inside cover goes on to get you up to date on King Mob and his crew as well as hype up the baddie Orlando as a "vicious killer".

So, in a comic book where the bad guys use mind control and propaganda, the comic book itself is using a bit of both to convince you that this thing is a bomb about to explode and make you a part of this incredible thing.   "...even if they have never met any other Invisibles."  See, sometimes The Invisibles work alone.  See, YOU could be an Invisible.  All you need to get started is this handy how to manual called The Invisibles.  And maybe a blank badge. 

But what is actually in the comic?  Well, for one thing there is a lot of really great Jill Thompson and perfect Daniel Vozzo colors.  We'll get to it a bit latter in the Invisible Ink part of this post but Thompson is the Ragged Robin character here.  Or vise a versa.  Her style is more fluid than Yeowell's but it still feels like the same comic series.  The same world.  Which is something because this is a very different comic than the first four issues.  This comic begins the Arcadia story which was a mixed bag for a lot of readers.  This story drove message board debates for years.  And Morrison knew it would.  He was counting on it.  As you will see later (again) in Invisible Ink, Morrison knew this story would be heavy on philosophy and might be a hard sell for those that came for the curse words and Molotov cocktails.  But for me personally it is one of my favorite stories in the series and one of my favorite comics stories ever.

But I think Morrison was selling himself short.  There is plenty of action in this story and tons of suspense.  Down right horror actually.  But yeah for sure, this story is cray cray bananas.  This is a story that features King Mob and his Invisibles cell time traveling and a supporting cast that includes Mary Shelley, Percy Shelley, Lord Byron and the Marquis de Sade.  So strap it on tight.

We start with King Mob in India (?) watching a shadow play.  "The dalang is more than a puppeteer.  His skill makes us believe that we see a war between two great armies, but there is no war.  There is only the dalang."  Metaphor alert!  Who is the puppeteer then?  The Outer Church? (The baddies.)  Morrison?

The next page is a full page of text from Shelley's "Julian and Maddalo".

Then we are on to three pages of perfectly drawn and colored drunken philosophy debate between Lord Byron and Percy Shelley.  Like ya do.  They talk about the Arcadia painting by Poussin.  They drink to the skeleton that mocks "our dreams of a perfected world".

Then back to King Mob in the east talking with a local about Ganesh, the Hindu god "who breaks down obstacles".  But Mob is from the west.  "Yeah, our god is bigger than your god".  There is an aside about Mob having sex with an American girl.  Because that is what The Invisibles do.  They have sex with Americans in exotic locations.  Mob is asked if he will fly back to London and responds that he will take one of his "shortcuts" instead.

Next, back in London, former New York City policewoman Boy is training our boy Dane Jack Frost in kung fu action fighting.  He's gonna need it.

Jack: "So like, I was one of The Invisibles before I even knew about it?  Well, how do I know I'm really one now?  If nobody knows who's working for who, how do I know I haven't joined the other side?"
Boy: "Jesus!  Good question Jack.  Good question."

Then we have King Mob walking through one of his "shortcuts".  He is in some sort of post apocalyptic dream world under a blazing yellow sky.  King Mob can walk between worlds?  Through alternate realities?  There he speaks with a woman who appears to have suffered some radiation damage.  "That's one good thing about the war; it's always sunny now."  The lady has a one eyed baby.  It is a very odd Twilight Zone kind of scene but Mob is actually lovely in the thing.  It is one of the scenes from the comic that has stuck with me the most.   He fusses over the baby and plays with it.  He's just a big pierced up teddy bear in his leather.  The lady says he reminds her of Gandhi as he walks way into the sun.

Then we get down to the nitty gritty.  Orlando.  The crazed killer sent to hunt down King Mob's cell.  A father is buying his kids ice cream in the park but when he comes back it is not daddy anymore.  It is Orlando wearing daddy's face.  Gross and creepy.  Did Hannibal Lecter wear other peoples faces?  I think the Joker in current DC Comics has taken to do that as well.  It for sure is very creepy.  Orlando is sick ya'll.

King Mob's gang are all waiting for him in London.  They are having dinner and getting drunk.  Some conversational exposition explains a few things to Jack and the reader about how the Invisibles work.  (Ragged Robin has psychic powers.  Does Jill Thompson?)  By the time Mob shows up Jack is hammered.  Mob gives the team the new mission.  "Orders have come through.  One of our agents is being relocated on the spacetime super-sphere."  Spacetime super-sphere everybody.  Now we're in a proper Grant Morrison comic book.  But Mob also has bad news.  He shows them a postcard with this image...

... and tells them that it is signed "Xipe Totec".
"Orlando.  It's Orlando.  He's here, in London.  We're in deep shit."

And with that they are off to hop into the TARDIS a time travel windmill to go rescue their man in the spacetime super-sphere.  Yes.  A windmill.

In the windmill they sit in a circle (or is it a pentagram?) and hold hands.  Jack does not want to hold Lord Fanny's hand.  In the early issues, Lord Fanny weirds the crap of of Jack.  Lots fear of the transgendered in Jack at this time but, spoilers, he grows up.  Lord Fanny enjoys it.  "It's not my hand sweetheart, it's a satin evening glove from Harrods."  The ritual beings, the windmill's blades start spinning and they all do the time warp again.

They arrive in France in time to see a guillotine sever a head.  "Welcome to the revolution, Jack".

Annotations at The Bomb.

Next:  Mysteries of The Guillotine!

But first, letters in another Invisible Ink column.

*********

Thanks once again for the roaming herds of letters and E-mailings.  Response to THE INVISIBLES has been gratifying and gloriously inventive.  If I could print every one, I would, but they'll only give me this little space at the back and I'm forced against my will to make 'Sophie's choice'-style decisions.  Needless to say, I love you all and my chiffon is wet.  I'm, particularly interested t o see what you make of this and the next three issues which are a little different from the first four Dane McGowan chapters.  Remember in the first issue text piece when I sketched a partial rundown of things I wanted this comic to deal with?  Yeah?  Well, the "Arcadia" storyline shines a spotlight on the "philosophy" part of the deal.  The theoretical scaffolding for the entire INVISIBLES series is revealed herein, but I'm still not sure whether people will actually want to persevere with page after page of rambling historical bullshit.  There's no going back now , though, so fans of modern-day swearing and violence will just have to put up and shut up until #9, #10, #11, etc.

Meanwhile, i fall the talk bores you, you can always look at the priddy pictures.  This issue sees the comet like arrival of Jill Thompson and Dennis Cramer.  I expect most of you will be familiar with Jill's vivid work on SANDMAN and BLACK ORCHID, but you probably don't know that I was to Jill as Dylan was to the Beatles vis a vis consciousness alteration.  Comics Babylon, or what?  Jill also has the distinction of having her likeness appear in more comic than just about anyone else, including me.  She's been the Queen of the Night for P. Craig Russell, she's been, depending on who you believe, various characters in SANDMAN and she's currently turning up regularly in this very title as Ragged Robin.  With all that on her plate, it's amazing she manages to get any work done, but she does because she believes in clothes!  She believes in dancing!  And she believes in Pop!
An Dennis Cramer is 17' tall and lives on the moon.
Letters Explode Into Action Now!

(The first letter is just a bunch of words and not sentences to which Morrison responds...)

Stephanie!  Dear!  Antipodean airmail artistry * secret starmaps * something.... ummm... Next!

(The next letter is full of praise and wants more of Morrison's text pieces.)

I enjoy writing the travel pieces, Jeff, but I'd probably rather have the dialog of the letters pages.  On the subject of cities, places like Kathmandu, say or Delhi are different form Western cities in that they wear their souls on their sleeves.  The gods are living presences everywhere, despite the traffic noise and pollution.  Modern, cities seem at first to be disconnected from the "uminous" as Jung called it - that sense of awe and uncanny significance which objects possess in dreams and trips - but what interest me is the way in which the gods, or archetypes, or whatever you want to call them, refuse to be suppressed and can be found, wearing some very unusual disguises, in even the most clamorous of 20th-century metropolitan areas.  People are hungry for sacredness, and none of the reasons we glamorize serial killers and are attracted to murder sites, for instance, is I believe, because they actually empower and mythologize the secular landscape. But, hey, I could go on all day...

(The next letter is very long.  He compares the comic to Oasis and I stop reading his letter.  Morrison responds...)

Yep.

(Another long letter.  The writer talks about longing for the day when Morrison will be a serious writer.  Like Pete Milligan.  ?????? Letters everybody!)

You win "Address of the Month", Damon, but I think we'll have to disagree on our definition an d use of the words "weird" and "weirdness".  Literal soul-bottling aside, brainwashing and conditioning techniques like  those depicted in the Harmony House episodes have been in operation for a number of years in this the "real" world, and little research into the current state of military application of microwave radiation for mind control purposes reveals the work being done now on weapons that can produce specific thoughts and emotions in human subjects is far in advance of anything I described.  Also, you're making the assumption that the figure in the "bowels" of Harmony House is an "insect god".  The story hasn't actually dealt with exactly, who or what the King-in-Chains is yet.  Apart from that, I'm still convinced I was making a serious point, but the jury remains out on that one, I suppose.
And perhaps I will cock-up THE INVISIBLES.  So what?

(And then a very, very, very long letter full of praise and some questions about possible connections between Morrison and Morrissey.  The 90s everybody!)

Strange that after so many years of me acting like Morrissey, he's now begun to act like me.  Did you see the Select cover where the recreated Big Dave's knuckleduster pose from 2000 AD Prog 869? ("Big Dave," for the benefit of American readers, is a strip I co-write with SWAMP THING's own Mark Millar for Britain's 2000 AD comic.  Racist, homophobic, sexist - "Big Dave" has been describes all of these things, but top duck art living legend Carl Barks saw it and laughed like a stuck pig.)  All of your questions should be answered as the series hops along towards its conclusion some 70, 80 or 100 issues down the line.  It's all one big story- in ways I can't even begin to describe- and what seem like throwaway lines in issue #1, for instance, will fold into whole story arcs later.  "Who are the Invisibles?"  will, however, be the last question answered.

Duncan Fegredo's doing a King Mob 6-pager for the next VERTIGO RAVE thang (now called ABSOLUTE VERTIGO), and hopefully , I'll convince him to do some work on the actual book.  As for Gorgeous Glyn and Peter, I'd love it, but i havent' spoken to them yet.
-Grant.

*********

(Image stolen from ComicVine.)

(Image stolen from eBay.)

Morrissey everybody!  All the good ol' days.  Morrison a fan of Morrissey.  Morrison and Millar still pals.  Good times.  Good times.

Your best pal ever,

Shannon Smith

p.s. Say you want a leader but you can't seem to make up your mind. I think you'd better close it and let me guide you to my twitter feed.

p.p.s. Let's pretend we went to high school together on facebook.

p.p.p.s. Google + is another place you can read the same thing I posted here.

p.p.p.p.s. I'll tumblr for ya.