|
6 |
7 |
8 |
9 |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
|
6 |
7 |
8 |
Sequart.com ComicsFiles
|
5 |
6 |
7 |
8 |
Chronologies
|
3 |
4 |
5 |
6 |
7 |
8 |
||||||||
|
6 |
7 |
8 |
5 |
6 |
7 |
8 |
3 |
4 |
5 |
6 |
7 |
8 |
||||||||||
|
Grant Morrison Chronology by Julian Darius |
||||||||||||||||||||||
|
6 |
7 |
8 |
9 |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
0 |
first published online on 2 March 2003 |
8 |
||||||
|
6 |
7 |
8 |
9 |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
0 |
8 |
|||||||
|
6 |
7 |
8 |
9 |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
|
|
|
|
|
|
1988 |
|
|
|
|
|
|
||
|
|
|
||
|
1989 |
|
||
|
1990 |
|
||
|
|
|||
|
|
|
||
|
1991 |
|
|
|
|
|
|
||
|
|
|
||
|
1992 |
|
|
|
|
|
|
||
|
|
|
||
|
1993 |
|
|
|
|
|
|
||
|
|
|
|
|
|
1994 |
|
Swamp Thing (second series) #140-143: cowritten
with Mark Millar |
|
|
|
|||
|
|
|
||
|
1995 |
|
|
|
|
|
|||
|
|
|
||
|
1996 |
|
|
|
|
|
|||
|
|
|
|
|
|
1997 |
The
Invisibles, Volume Two
#1-22, |
|
|
|
|
|||
|
|
|||
|
1998 |
|
||
|
|
|
||
|
|
|||
|
1999 |
|
|
|
|
|
|||
|
|
|||
|
2000 |
|
||
|
|
|||
|
|
|
|
|
|
2001 |
|
|
|
|
|
|
||
|
|
|
||
|
2002 |
|
cowritten with Mark Millar |
|
|
|
|||
|
|
|||
|
2003 |
|
||
|
|
|||
|
|
|
||
|
2004 |
|
|
|
|
|
|
|
|
|
|
|
|
· Animal Man #1-26, story from Secret Origins #39: DC Comics gave Grant Morrison the opportunity to revive this obscure super-hero, with the power to acquire the abilities of animals around him, as part of an attempt to recruit British writers following the success of Alan Moore. After a four-issue introductory storyline, Morrison quickly began laying the groundwork for a larger work that interrogated the notion of fiction. Environmental and animal rights themes also characterized the series, including a memorable story of dolphins in #15. After killing off the hero’s family, Morrison memorably had the titular hero meet the writer himself in the ultimate issue. Artists principally included Chas Truog as penciller and Doug Hazlewood as inker. DC collected the first nine issues simply as Animal Man not long after, reprinting the collection in 2000. A subsequent collection of #10-17 and the Secret Origins story, subtitled Origin of the Species, was offered in 2002. A collection of #18-26, subtitled Deus Ex Machina, was offered in 2003. For more information, see The Continuity Pages: Animal Man > Grant Morrison Era (1988-1990).
Doom Patrol
· Doom Patrol (second series) #19-63, Doom Force Special #1: Grant Morrison took over DC Comics’ Doom Patrol immediately following the departure of the previous creative team, which had made drastic changes in their final two issues, which crossed over with DC’s Invasion event. Morrison immediately began introducing new characters, including Crazy Jane, a schizophrenic super-heroine. With art primarily by Richard Case, Doom Patrol featured surrealistic characters such as the Brotherhood of Dada; Danny the Street, a super-powered transvestite living street; Flex Mentallo, a take-off of the ads for Charles Atlas that memorably ran in old comics. The series provocatively interrogated issues such as the relationship between mind and the body. Doom Force Special #1, a stand-alone work published late in Morrison’s run, was simultaneously a parody of then-new Image Comics and a demonstration of the intrinsic surrealism of the super-hero genre. DC collected the first few issues of Morrison’s run as Doom Patrol: Crawling from the Wreckage. For more information, see The Continuity Pages: Doom Patrol > Grant Morrison Era (1989-1992).
· Flex Mentallo #1-4: With art by Frank Quitely, this Morrison-scripted mini-series ostensibly focused on Flex Mentallo, the muscleman of the beach from Morrison’s Doom Patrol. Its narrative was framed around someone tripping on acid and experiencing bizarre, sexualized super-heroes in a multiverse. It is rightly highly regarded, though a lawsuit brought by Charles Atlas prevented DC’s plans to collect the mini-series as a trade paperback. For more information, see The Continuity Pages: Doom Patrol > Rachel Pollack Era (1993-1994, 1996).
Batman: Arkham Asylum
· Batman: Arkham Asylum: Stunningly illustrated by Dave McKean, this was the first original hardcover graphic novel to feature Batman and was published just in time for the 1989 movie, making it a fantastic bestseller. Subtitled A Serious House on Serious Earth, it features the inmates taking over the famous asylum, requiring Batman to enter the asylum and secure order. Rich in complex psychological themes, Batman’s own sanity is not only questioned but demonstrated, by the graphic endpages if not the narrative itself, to have long been shattered. For more information, see The Continuity Pages: Batman > Inter-Robin Era (1989-1990).
Swamp Thing
· Hellblazer #25-26: Grant Morrison wrote a two-part fill-in story for this title, a spin-off of Swamp Thing. The story focused on fear about nuclear war and was illustrated by David Lloyd. The two issues were cover-dated January and February 1990. For more information, see The Continuity Pages: Swamp Thing > Jamie Delano, Rick Veitch, and Doug Wheeler Era (1987-1991).
· Swamp Thing #140-143: Grant Morrison co-wrote Mark Millar’s first four issues of his run on the title. #140 was cover-dated March 1994. For more information, see The Continuity Pages: Swamp Thing > Mark Millar and Paul Jenkins Era (1994-1998).
Sebastian O
· Sebastian O #1-3: One of the first mini-series offered by DC’s then-new Vertigo imprint, Sebastian O told a tale of virtual reality and similar technology in a Victorian England. Illustrated by Steve Yeowell, its quick pacing and overall smartness has made it fondly remembered. For more information, see The Continuity Pages: Grant Morrison.
The Invisibles
· The Invisibles #1-25, Absolute Vertigo: This was Vertigo’s first auteur-driven ongoing series launched following the imprint’s creation. It focused on conspiratorial thinking, and initially sold quite well, but its complex second story arc, in which the Invisibles traveled back in time with a magic windmill and met the Marquis de Sade, sent sales plummeting. Varying artistic teams, though part of the series’s design, were also thought unpopular. The series was cancelled after just two years, but with plans to relaunch it. Absolute Vertigo was an inexpensive comic book promoting the Vertigo line, including a short Invisibles story as its only original material. Collections of this material are subtitled Say You Want a Revolution, Apocalipstick, and Entropy in the U.K. For more information, see The Continuity Pages: The Invisibles.
· The Invisibles, Volume Two #1-22, short story in Vertigo: Winter’s Edge, pages in Vertigo: Winter’s Edge 2: Whereas the first series had been very British, the second would be very American -- commencing with the team invading an American base, complete with much gunplay along with conspiratorial thinking. The series would also feature permanent a artistic team, with Phil Jimenez on pencils to start, followed by Chris Weston. In the series’s final year, month-long gaps were routinely programmed between every few issues. Featuring new characters, the series would make time travel poignant and double agents mindboggling. The series’s conclusion was designed with plans to relaunch the title for a final, third series. Collections of this material are subtitled Bloody Hell in America, Counting to None, and Kissing Mister Quimper. For more information, see The Continuity Pages: The Invisibles.
· The Invisibles, Volume Three #12-1: Varying artistic teams would return for the third series, a 12-issue mini-series designed to count down from 12 to 1, concluding in January 2000. Delays, however, would postpone the conclusion. The final issue, illustrated by Frank Quitely, was worth any wait: it was simply splendid. The entire mini-series was collected as The Invisibles: The Invisible Kingdom. For more information, see The Continuity Pages: The Invisibles.
The Mystery Play
· The Mystery Play: Morrison’s second original hardcover graphic novel, this time published by Vertigo, would feature painted art by Jon J. Muth and would be decidedly postmodern. Set around an apparent detective investigating the murder of the actor playing God in a revival of a medieval mystery play, the investigation would enthrall with its complex, intellectually provocative nature. For more information, see The Continuity Pages: Grant Morrison.
Kill Your Boyfriend
· Kill Your Boyfriend: Originally published as Kill Your Boyfriend #1, a special offered as part of Vertigo’s Vertigo Voices series, designed to give Vertigo’s auteurs a chance to write what they wanted, Kill Your Boyfriend was later reprinted with a spine as a thin graphic novella. The story was farcical, and probably not Morrison’s best. For more information, see The Continuity Pages: Grant Morrison.
JLA
· JLA #1-17, JLA Secret Files #1, JLA / WildC.A.T.s, Prometheus (Villains) #1: When Grant Morrison was announced as the writer of the relaunched Justice League title, which would bring back the big characters who had originally comprised the team and which would sweep away the three Justice League books then being published, many fans were concerned: Morrison was, after all, a Vertigo writer known for his density, if not his insanity. Featuring art primarily by Howard Porter (pencils) and John Dell (inks), the series was a tremendous hit. In the wake of this success, DC offered JLA Secret Files #1, featuring a story by the main team that took place before the first issue, and JLA / WildC.A.T.s, a team-up with Wildstorm’s heroes (then still published through image). JLA #10-15 comprised the fantastic “Rock of Ages” storyline, featuring -- among other things -- a future in which Darkseid had conquered Earth; it also demonstrated Morrison’s use of the narratological rule that the heroes triumph within the narrative itself, as the villains planned to trap the JLA into a situation in which their inevitable triumph would doom the Earth. Following this storyline, Prometheus (Villains) #1, a single issue offered as part of a special week DC designated for such issues, introduced the new villain Prometheus, who would provide the villainy for JLA #16-17. Morrison then took four months off. For more information, see The Continuity Pages: Justice League of America.
· JLA #22-23, 1000000, 24-26; DC One Million #1-4: Morrison returned to the title with a two-part story (#22-23) that featured Neil Gaiman’s character Dream, from The Sandman. DC One Million, a weekly mini-series that provided the nucleus for a crossover event, followed immediately thereafter: each mainstream DC title would be numbered #1000000 that month as the crossover introduced the far future of the DC Universe. For more information, see The Continuity Pages: Justice League of America.
· JLA #28-31, 34, 36-41; JLA: Earth 2: Morrison’s run on the title concluded with the “World War III” storyline (#24, 26-41). About the same time, Morrison’s third original hardcover graphic novel, the brilliant JLA: Earth 2, featuring art by Frank Quitely, appeared; it featured, in the tradition of DC’s Silver Age comics, a parallel Earth with evil versions of the Justice League -- who, in their mirror universe, always win. For more information, see The Continuity Pages: Justice League of America.
Marvel Boy
· Marvel Boy #1-6: With art primarily by J. G. Jones, Marvel Boy represented Morrison’s new approach to super-heroes following the completion of The Invisibles and JLA. The mini-series featured much pop culture and postmodern cleverness, including parallel universes, a great villain whose power is essentially narratological, and sadomasochistic themes.
New X-Men
· New X-Men #114-154, New X-Men Annual 2001: Marvel Comics selected Grant Morrison to head X-Men, retitled New X-Men to greet his new direction. Frank Quitely was lured away from The Authority (then written by Morrison’s former collaborator, Mark Millar) to provide the pencils. Quitely ran late, however, and other artists -- including Ethan Van Sciver, Igor Kordey, and Phil Jimenez -- were featured more frequently than Quitely himself. For more information, see The Continuity Pages: X-Men > Grant Morrison Era (2001-2004).
The Authority
· The Authority #28: When series writer -- and frequent Grant Morrison collaborator -- Mark Millar was ill, he asked Morrison to write his penultimate issue on the title, with Millar revising Morrison’s script. Morrison did not receive credit as cowriter, and DC Comics was apparently oblivious of his contribution, but word broke soon after the issue’s publication. The issue carried an April 2002 cover date and was published in February. For more information, see The Continuity Pages: The Authority > Mark Millar Era (2000-2002).
The Filth
· The Filth #1-13: The Filth, pencilled by Chris Weston, represented Morrison’s return to Vertigo. It was brilliant and more extreme than his previous work, memorably including a supernatural pornography star and the utter brutalization of the American President. For more information, see The Continuity Pages: Grant Morrison.