The Key is a short, wordless webcomic by Grant Morrison and Rian Hughes and published by the BBC.
The New York Times has a profile of Karen Berger, the editor of Vertigo Comics. Berger announced earlier this year that she is leaving Vertigo. The Times has no update on what she’s doing next.
For the roster of artists she leaves behind, Ms. Berger’s exit raises questions about the future of Vertigo and where its renegade spirit fits into an industry and a company that seem increasingly focused on superhero characters who can be spun off into movies and TV shows.
“It’s really hard to tell at this stage,” said Mr. Gaiman, a best-selling novelist and fiction writer who was scouted by Ms. Berger in the 1980s. “That was DC Comics, now we have DC Entertainment. It is a different beast, being run by different people.”
Sitting in a DC conference room a few days ago and surrounded by shelves of Vertigo titles that she published, Ms. Berger, a soft-spoken woman of 55, said she quit to pursue new challenges. “It’s time to ply my storytelling skills elsewhere,” she said. […]
Comic sales have fallen off substantially, Mr. Morrison said, and the qualities that defined Vertigo’s titles have become widely imitated. They have “bled into the mainstream in such a way that you almost didn’t need it anymore.”
Mr. Morrison said he could still remember when his Vertigo series “Sebastian O,” about an assassin in Victorian-era England, sold about 90,000 copies of its first issue in 1993 — a modest quantity that would make it a Top 10 best seller in 2013. (DC said it doesn’t provide sales figures.)
There is no one who shaped my tastes more than Berger. I can’t wait to see what she does next.
Cameron Stewart is known for his work with Grant Morrison on Batman and Robin, Seaguy, Seven Soldiers: The Manhattan Guardian and a few pages of The Invisibles, amongst other things. But he also wrote and drew a serialized online comic called Sin Titulo, a surreal mystery in the vein of Haruki Murakami or David Lynch that won an Eisner award. It will be released in print later this year by Dark Horse Comics, but you can read it online now for free.
Shaban is an actor and filmmaker who in addition to having appeared in several films has worked with the Crass Collective and appeared as a Doctor Who villain. Trevor wrote an essay on Skin Horse, Shaban’s documentary about the sex lives of the disabled here.
With his directorial debut, The Man With the Iron Fists, less than a month away, RZA is continuing his push into directing.
The former hip-hip producer and frontman for the Wu-Tang Clan is teaming up with comic book author Grant Morrison and producer Reginald Hudlin to adapt Morrison’s latest comic, Happy!, for the big screen.
RZA is attached to direct and would produce with Hudlin, a producer on Quentin Tarantino’s Django Unchained. Morrison will write the script.
Invisibles author Grant Morrison has been officially inducted into the Outer Church:
Every year for her Birthday, Queen Elizabeth II names a bunch of people (well, it’s not her, but it’s done through her, she’s the middle man) to honour with various orders of chivalry, she basically dubs them with a sword and gives them a medal.
(thanks Cat Vincent)
I think this is the original Channel 4 Disinfo show segment. There doesn’t appear to be any Morrison here that doesn’t appear on The Disinformation: Complete Series DVD, but it is a different edit.
(via Phase II).
This should be interesting, since Morrison has talked about Invisibles as a “hypersigil” and Metzger has described Disinfo as a sigil.
Update: I’m not sure, but I think this might actually be The Disinfo Book of Lies, which Metzger edited and Morrison contributed to.
Barbelith is running a frickin’ huge interview with Grant Morrison. I haven’t had time to read much of it yet, but it sounds pretty interesting.
Suddenly I thought, ‘What the Hell is Disney?’ Walt Disney’s dead now but Disney persists as a concept and people who were born after the death of Walt Disney grow up and assume positions within Disney. What are they assuming positions within? It’s in this really devotional way too. What makes you grow up to wear a Mickey Mouse head and go round scaring children? Or ‘I’m going to end up on the Board of Directors of Disney?’ Why, why do these things occur? So I was just seeing them as in the way the Demons in the old Grimoires were seen which was kinda aggregates of power to which people could adhere themselves to or join in cultish fashion so I began to think I could talk to them like that and use ceremonial magic methods to talk to corporations and found there were ways of doing it - that’s why I’m wearing a suit - this is my magical garb for this working. That_s why we evoked gmWORD Ltd. They’re very powerful, ravenous weird things -corporations, strange to deal with.
A wonderful and indepth interview with Grant Morrison by Jason Louv is up at Disinfo:
I always talk about Aboriginal culture, because that’s a culture that’s been around for forty thousand years. People think they’re primitive, but I don’t believe that any culture that’s been around for forty thousand years is primitive at all. And I spoke to somebody who’s been with the Aborigines and he said this amazing thing to me which I’ve never forgot. He said, “You don’t understand these people, they’ve dispensed with technology.” [Laughs] He said that these are the most sophisticated people on the planet, but unfortunately they’ve come up against a racist government that’s mastered much cruder methods and that’s fucked with them. He said, “What do you think, we’ve gone six thousand years and made all this, what do you think they made and then dismissed?” And I was just like, “Fuck …” [Laughs] And they have a totally different thing, their thinking’s like fifth dimensional thinking. And if you talk to an Aboriginal, he’ll go “Yeah, we’ve been to the moon, we fly around up there, we did that ages ago.” So what I mean is that they’re actually working in full-scale technology, but we got more drunk! ‘Cause that’s how we do it, that’s how our culture destroys its insight.