And more to the point, they don’t get on at all. Of course two prominent practicing magicians/British comics writers who emerged at around the same time get compared to each other. Yes, if you think this all begs for a comparison to Alan Moore, you’re not wrong. And he’s endlessly linked to some big Hollywood deal or another, none of which ever seem to materialize. He’s still quite active in comics, currently writing both a Batman and Superman title for DC, as well as having some creator-owned projects in the pipeline. He’s also a prominent magician/occultist, favoring the style of magic generally described as Chaos Magic, which first popped up in the late 1970s, and which we’ll talk about in more detail on Friday. He’s one of the bigger names of the British Invasion of comics, and one of the first to make the jump to the US (his debut on Animal Man came in 1988, although he had some text pieces in 1986, which was the beginning of his mainstream career). So I held this back until now.įirst, then, an overview on Grant Morrison. The first time you can really point at something and say “that’s Grant Morrison’s influence on Doctor Who” is Daniel O’Mahoney’s The Man in the Velvet Mask, which is blatantly taken from the second storyline of The Invisibles. He didn’t really start making a splash on his own terms until the tail end of the Cartmel era, and the fact of the matter is that it was Alan Moore and then Neil Gaiman who was serving as the major influence for writers in the late 80s/early 90s. More to the point, he was nowhere near the approach anyone else was using for Doctor Who around this time. But he wasn’t at the time these comics came out, and he wasn’t going to be for a good long while. It’s not that Grant Morrison isn’t an influence on Doctor Who. Which brings us around to today, where we finally get around to looking at the three Doctor Who comics Grant Morrison wrote in the late 80s, having skipped them at the time because, well, they just didn’t fit anywhere well. Friday, meanwhile, we’re going to do The Invisibles so that we can be ready for one of the major things people compare Lawrence Miles to, namely Grant Morrison. Monday we do the lead-in to it with Dead Romance, Miles’s second Benny New Adventure, albeit one without, you know, Benny in it. The gameplan is simple: next Wednesday we do Interference. The answer, dear reader, is that we’re beginning a bit of a thing with this post: a four essay run that leads up to Lawrence Miles’s mad masterpiece Interference. “Why,” one might reasonably ask, “are you suddenly doing late 80s Doctor Who Magazine comics featuring the Sixth and Seventh Doctors when you’re supposed to be hip-deep in the Eighth Doctor era?” And one would have a fair question.
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