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| xxxxx | The Continuity Pages | - | ||||
| - | THE INVISIBLES | - | ||||
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| - | ------ ------ ------ ------ ------ ------ ------ ------ ------ ------ ------ | JulianiDarius | xxxxx | |||
The Invisibles may be the most brilliant comic book series ever. When the series began, in mid-'94,
Grant Morrison had just taken a year off from regular series
writing, having completed his ingenious run on
Doom Patrol just prior to the creation of
the Vertigo line. Vertigo's promotion for The Invisibles, full of the day-glo grenade
seen on the cover of the first issue, sought to make the new series a success on the level of
The Sandman, then still alive. The comparison made sense in that both were highly
original series by truly top-notch writers, but Morrison's more aggressive post-modern
inclinations were considerably less marketable than Gaiman's gentle sophistication. The grenade
symbolized more than Morrison's style. The series didn't bomb, but its second storyline
("Arcadia," from #5-8) sunk sales melodramatically. It continued until #25, but Vertigo agreed
to relaunch the title.
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For the second series, the style as well as the characters transplanted themselves to America.
Instead of varying art teams, a continuing art team was chosen. The narrative became more
conspiratorial. Sales were stronger, though never good. Around the time of the relaunch, DC had
cancelled all of its Justice League titles and relaunched the series -- written, after the
introductory mini-series, by Grant Morrison. JLA immediately became DC's top seller.
Speculation that DC kept The Invisibles alive in exchange for Morrison continuing on
JLA was inevitable. The second series began skipping months, however, and eventually
concluded with #22. The entire series worked as a single story, concluding fabulously.
The third series would be a 12-part mini-series, counting down in numbering rather than up. It
was intended to be published throughout 1999, concluding with #1 in January 2000. Delays, likely
caused by artists, plagued the symbolism of the publication schedule. Though #1 was published a
few months late, its quality was unbelievably high. I remember picking it up and the pregnant
pause before opening it, knowing that I had followed this series since the first #1 in 1994 and
that this, like it or not, was it. The series towards which I had felt lukewarm had become my
favorite, and I found that I had so syncrinized with its thinking that every issue contained
passages not only on the same subject as a recent conversation but reproducing its major
arguments and feelings in essentially identical language. The Invisibles had come to
reflect my life. It had become as autobiographical of me as of Grant Morrison.
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| The Invisibles Preview | four black-and-white pages long (eight pages including covers, inside and out, two of them in color) | |||||
![]() Larger Version Available | The Invisibles #1 | 40 pages; cover-dated September 1994 | ||||
| The Invisibles #2 | ||||||
| The Invisibles #3 | ||||||
| The Invisibles #4 | ||||||
![]() Larger Version Available | The Invisibles #5 | has "dehanced" cover | ||||
| The Invisibles #6 | ||||||
| The Invisibles #7 | ||||||
| The Invisibles #8 | cover-dated April 1995 | |||||
![]() Larger Version Available |
The Invisibles: Say You Want a Revolution | collects The Invisibles #1-8; Rian Hughes cover
[REVIEW AND PURCHASE THIS BOOK] | Needed | |||
| The Invisibles #9 | cover-dated June 1995; first issue printed on thick, glossy paper (with a price hike to $2.50) | |||||
| The Invisibles #10 | Chris Weston art | |||||
| The Invisibles #11 | John Ridgway art | |||||
| The Invisibles #12 | Steve Parkhouse art | |||||
| The Invisibles #13 | ||||||
| The Invisibles #14 | ||||||
| The Invisibles #15 | Jill Thompson pencils, Jill Thompson and Kim DeMulder inks | |||||
| The Invisibles #16 | focuses on Dane | |||||
![]() Larger Version Available |
The Invisibles: Apocalipstick | collects The Invisibles #9-16; Brian Bolland cover
[REVIEW AND PURCHASE THIS BOOK] | ||||
| The Invisibles #17 | ||||||
| The Invisibles #18 | ||||||
| The Invisibles #19 | ||||||
| The Invisibles #20 | Tommy Lee Edwards art, focuses on Boy | |||||
| The Invisibles #21 | focuses on Dane, who reunites with Boy at the end | |||||
| The Invisibles #22 | ||||||
| The Invisibles #23 | ||||||
| The Invisibles #24 | ||||||
| The Invisibles #25 | cover-dated October 1996; Mark Buckingham pencils, Mark Pennington inks; focuses on Mister Six | |||||
![]() Larger Version Available |
The Invisibles: Entropy in the U.K. | collects The Invisibles #17-25; Brian Bolland cover
[REVIEW AND PURCHASE THIS BOOK] | ||||
| The Invisibles, Volume Two #1 | cover-dated February 1997 | |||||
| The Invisibles, Volume Two #2 | ||||||
| The Invisibles, Volume Two #3 | ||||||
| The Invisibles, Volume Two #4 | ||||||
![]() Larger Version Available |
The Invisibles: Bloody Hell in America | collects The Invisibles, Volume Two #1-4; reuses the cover from The Invisibles, Volume Two #1; very annoyingly lacks the final page of #4; published in the month cover-dated March 1998 [REVIEW AND PURCHASE THIS BOOK] | ||||
| The Invisibles, Volume Two #5 | ||||||
| The Invisibles, Volume Two #6 | includes 14 pages with Phil Jimenez pencils and Keith Aiken inks; includes 10 pages with Michael Lark pencils and Marc Hempel inks; includes a brilliant letter | |||||
| The Invisibles, Volume Two #7 | ||||||
| The Invisibles, Volume Two #8 | ||||||
| The Invisibles, Volume Two #9 | Phil Jimenez layouts, pencils by Space Boy, and inks by John Stokes | |||||
| The Invisibles, Volume Two #10 | ||||||
| The Invisibles, Volume Two #11 | Phil Jimenez pencils, inks by John Stokes and Ray Kryssing | |||||
| The Invisibles, Volume Two #12 | ||||||
| The Invisibles, Volume Two #13 | cover-dated February 1998 | |||||
![]() Larger Version Available |
The Invisibles: Counting to None | collects The Invisibles, Volume Two #5-13 and the Invisibles story from Vertigo: Winter's Edge; cover-dated April 1999
[REVIEW AND PURCHASE THIS BOOK] | ||||
| The Invisibles, Volume Two #14 | cover-dated April 1998; Chris Weston pencils, John Stokes inks | |||||
| The Invisibles, Volume Two #15 | includes special thanks to Michael Lark, who probably helped out on the art | |||||
| The Invisibles, Volume Two #16 | cover-dated June 1998 | |||||
| The Invisibles, Volume Two #17 | cover-dated August 1998 | |||||
| The Invisibles, Volume Two #18 | Ivan Reis pencils, Mark Pennington inks | |||||
| The Invisibles, Volume Two #19 | ||||||
| The Invisibles, Volume Two #20 | cover-dated November 1998; published on 30 September 1998 | |||||
| The Invisibles, Volume Two #21 | cover-dated January 1999 | |||||
| The Invisibles, Volume Two #22 | cover-dated February 1999; Chris Weston pencils; John Stokes and Chris Weston inks | |||||
Larger Version Available |
The Invisibles: Kissing Mister Quimper | collects The Invisibles, Volume Two #14-22
[REVIEW AND PURCHASE THIS BOOK] | ||||
![]() Larger Version Available | The Invisibles, Volume Three #12 | cover-dated April 1999; Philip Bond art | ||||
![]() Larger Version Available | The Invisibles, Volume Three #11 | |||||
![]() Larger Version Available | The Invisibles, Volume Three #10 | |||||
![]() Larger Version Available | The Invisibles, Volume Three #9 | |||||
![]() Larger Version Available | The Invisibles, Volume Three #8 | cover-dated August 1999 | ||||
![]() Larger Version Available | The Invisibles, Volume Three #7 | cover-dated October 1999 | ||||
![]() Larger Version Available | The Invisibles, Volume Three #6 | cover-dated December 1999 | ||||
![]() Larger Version Available | The Invisibles, Volume Three #5 | cover-dated January 2000 | ||||
![]() Larger Version Available | The Invisibles, Volume Three #4 | cover-dated March 2000; art by Steve Yeowell (7 pages), Jill Thompson (5 pages), Philip Bond (3 pages), John Ridgway (3 pages), Ashley Wood (2 pages), and Steve Parkhouse (2 pages) | ||||
![]() Larger Version Available | The Invisibles, Volume Three #3 | art by Chris Weston (5 pages), Jill Thompson (5 pages), John Ridgway (5 pages), Steve Yeowell (3 pages), Michael Lark (2 pages), Rian Hughes (1 page), and Paul Johnson (1 page) | ||||
![]() Larger Version Available | The Invisibles, Volume Three #2 | art by John Ridgway (7 pages), The Pander Bros. (4 pages), Ashley Wood (3 pages), Mark Buckingham (2 pages), Cameron Stewart (2 pages), Dean Ormston (2 pages), Steve Yeowell (1 page), and Grant Morrison (pencils) & Cameron Stewart (inks) (1 page) | ||||
![]() Larger Version Available | The Invisibles, Volume Three #1 | cover-dated June 2000; Frank Quitely pencils, John Stokes inks | ||||
![]() Larger Version Available |
The Invisibles: The Invisible Kingdom | collects The Invisibles, Volume Three #1-12
[REVIEW AND PURCHASE THIS BOOK] | ||||
![]() Larger Version Available |
Anarchy for the Masses: An Underground Guide to The Invisibles | includes annotations to every issue, critical analysis, and interviews with writer Grant Morrison, artists Philip Bond, Phil Jiminez, Sean Phillips, Warren Pleece, Frank Quitely, Cameron Stewart, Jill Thompson, Chris Weston, and Steve Yeowell, and (series editor) Stuart Moore
[REVIEW AND PURCHASE THIS BOOK] | ||||
![]() Larger Version Available |
Anarchy for the Masses: The Disinformation Guide to The Invisibles | a revised "Disinformation" edition, to which has been added interior illustrations by series artists Chris Weston (who also worked on
Lucifer and
The Filth, the latter also with Grant Morrison) and Steve Yeowell (who also worked with Grant Morrison on
Sebastian O and Zenith, the latter in 2000 A.D.); Frank Quietly cover
[REVIEW AND PURCHASE THIS BOOK] | ||||
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| Absolute Vertigo | cover-dated Winter 1995; previews upcoming Vertigo publications but also includes a single short story featuring King Mob from The Invisibles with Duncan Fegredo art; I cannot figure out, however, where this story occurs in the continuity of the series | |||||
| Vertigo: Winter's Edge | published in December 1997; includes a number of short stories from Vertigo titles, including a story featuring King Mob from The Invisibles with Philip Bond art; the story, while extremely clever and entertaining, features King Mob as a celebrity in the future and seems to take place outside of the continuity of the series | |||||
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