The blank badge and everything that surrounds it: an Invisibles reread

It is yeah but because there’s gaps of time in between issues there’s also some anti-Blair stuff... mainly as you say though. Original HoC is incredible, btw.

I memorised the membership number on our family video card (I think it was 9713!) because I’d always forget to bring it with me. Inevitably there’d always be some tough-ass clerk who wouldn’t let you rent Tremors on a Saturday night if you didn’t bring the plastic.

The opening arc is fantastic. The first time around, I quit after a couple of issues of the second arc, which iirc was disappointingly Gaiman-y (i.e. long captions written in hard-to-read joined-up handwriting).

Now that I think about it the original Books of Magic also trafficks in this vibe, and that was around 1990; guessing something occulty was in-fashion at the time in London.

xp gyac yeah HoC was great, the ending of the first series is so entertaining. (2nd and 3rd series probably unnecessary but still fun.) I heard the US Netflix version slows everything down and takes a few years to go to that point lol

...not a fan of big pages filled with scrawled cursive, but let's see how it goes...

Some Iain Sinclair / Peter Ackroyd influence in the air too, perhaps, mid 90s onwards.

And V for Vendetta too, obvs.

People always say the series starts slow but I have never thought this.

This was definitely the case for me when I first read this in the '90s, in fact reading the first issue almost put me off of reading the rest of the series. By the time I got to the Inivisibles, the first couple of trades had come out. I was an anarchist/activist, into techno and drum'n'bass and rap, and I was under the impression this series would be exactly for someone like me, but then the first issue has... John Lennon and several pages of some psychedelic bullshit prose accompanied by similarly hippie imagery. I was like, fuck that boomer shit, but thankfully I did continue reading it, and issue 2 was already much better. But judging by the first issue it definitely didn't feel like the sort of zeitgeisty "this is '90s" comic that it had the reputation of being.

Issue ends with Dane being abandoned again - the next part of it is on.

This interesting, because a later storyline involving Boy has a very obvious criticism of V for Vendetta's idea of forcing someone to have an anarchist enlightenment through cruel manipulation, as Morrison (quite accurately) understands that forcibly pushing someone into anarchism goes against the very idea of it. Yet here the Invisibles cell is doing almost the same to Dane... Did Morrison's own ideas regarding this change between this and the later story, or are we to think the Invisibles are wrong to treat Dane like this?

The series ultimately (and fairly explicitly) lands on option b. Forces of control inhabit each end of the spectrum.

Also, the very first page of the very first issue seems to imply this is sort of a circular story, where in the end we return to the beginning, so I was waiting for the series to end like that. But as far as I can tell, the actual ending has little to do with the beginning, the line of the story is continously rising and not a circle that returns to itself... Unless we accept the interpretation that the entire story is the virtual reality video game King Mob developed in the final issue, and the ending of that issue is the ending of the first playthrough, after which you can return to the beginning and play it again on a harder difficulty?

(xpost)

About Barbelith: Morrison has admitted that some parts of Doom Patrol bled into this series, with Ragged Robin being an alternate version of Crazy Jane... So with that in mind, Barbelith also seems to be a variation of the similar shape Rebis sees in Doom Patrol when they have their final enlightenment. But what that is supposed to tell us about the connections between the two series, I have no idea.

Or actually I do have sort of a universal theory of how every one of Morrison major DC works are connected to each other, dunno if I've shared it here?

morrison was explicitly trying to make the dc universe literally a self-aware magickal entity in his superhero run iirc but i'd be interested to hear your theory for sure

i still haven't started my invisibles re-read but my current theory is that morrison's chaos magick 'every reader must have a wank to save the series' ritual did indeed save the series but unfortunately it created qanon as a side-effect

Okay, I posted this a long time ago on TVTropes.org, so I'm just gonna copy-paste it from there... I'll put it in spoiler tags, cos it has spoilers for All-Star Superman, Seven Soldiers, and DC One Million:

Almost all of Morrison's DC works are tied to each other, as well to the real world, forming a big "Morrisonverse". Here's how it goes: In All-Star Superman Superman creates the infant universe Qwewq. In JLA we see the heroes discover (a version of) Qwewq. Both in ASS and in JLA: Confidential we see that Qwewq actually contains "our" Earth, i.e. a realistic Earth with no superheroes. The final Morrison-penned issues of Doom Patrol and Animal Man take place in a realistic world with no superheroes (and they both share the same colour scheme, meaning it's the same world in both), which is presumably Qwewq, i.e. "our" world.

In Seven Soldiers we find out the ultimate fate of Qwewq (or at least one version of it). Final Crisis (which takes place in the same universe as JLA) refers to Bleed (the "sea" that separates different universes in the DC multiverse) as "ultramenstruum", and the same term is used is The Invisibles, implying that the Invisibles universe is a part of the larger DC multiverse. If we accept that Qwewq is "our" universe, this means our universe exists inside a larger universe populated by superheroes. Both Flex Mentallo and The Filth feature the "real" world to which superheroes from outside this world burst in; thus, the real world in both these comics could be (a version of) Qwewq. Lastly it also seems that DC One Million takes place in the future of All Star Superman as Solaris and Kal Kent appear and happens to be the story of how Superman ended up having to fix the sun.

Or to sum up just the Invisibles connection: in Final Crisis Morrison calls the Bleed (the space between alternate universes created by Warren Ellis) "ultramenstruum", which is the same term Invisibles uses about the weird floating mirror substance we see several times, which would imply the Invisibles universe is one of the alternate universes in the DC multiverse.

Whoop's I messed up the spoiler tags there...

The first few issues still give me "CBBC 5.05pm drama, but with much more swearing and violence" vibes. There was talk of a BBC Scotland adaptation, if I remember right?

The series ultimately (and fairly explicitly) lands on option b. Forces of control inhabit each end of the spectrum.

i still haven't started my invisibles re-read but my current theory is that morrison's chaos magick 'every reader must have a wank to save the series' ritual did indeed save the series but unfortunately it created qanon as a side-effect

― you are like a scampicane, there's calm in your fries (bizarro gazzara), Monday, September 21, 2020 8:09 AM (four minutes ago) bookmarkflaglink

Plus the thing where we never escaped/must constantly relive 2012

https://www.youtube.com/watch?v=4__NWrfejTg&t=194

The first few issues still give me "CBBC 5.05pm drama, but with much more swearing and violence" vibes.

There's more than a passing similarity (specifically, the focus on am underground "magipunk" world hidden beneath real London) between the first storyline and Gaiman's Neverwhere, which was a BBC drama first. Maybe the BBC commissioned Gaiman to do something similar to Invisibles, but more feasible for TV?

Otm, Dane going back to Liverpool and Boy leaving are both fairly explicitly about this in their separate ways. I don’t think that Fanny’s recruitment (while she’s recovering from assault and bleeding) is portrayed neutrally either. John-a-Dreams recruiting her at her lowest point has always sat uneasily

The problem here is that Mister Six is supposed to have been enlightened beyond the Invisibles/Archons dichotomy, yet he seems to be a part of the plan for Dane, or at least does nothing to stop it? This is one of the reasons why I feel Morrison changed his mind about the Invisibles and their moral justification at some point.

There's more than a passing similarity (specifically, the focus on an underground "magipunk" world hidden beneath real London) between the first storyline and Gaiman's Neverwhere, which was a BBC drama first. Maybe the BBC commissioned Gaiman to do something similar to Invisibles, but more feasible for TV?

Sorry, I didn't notice Nhex already mentioned this connection upthread.

Plus the thing where we never escaped/must constantly relive 2012

well, yeah

promethea also goes full 2012 apocalypse at the end iirc, it was def in the air for comics' two magick uncles

Didn't they both get the 2012 date from the Mayan calendar entering a new cycle in that year? IIRC that was explicitly referenced in the Invisibles?

yeah, the mayan calendar ended on 21/12/2012, as did our reality

sorry to break it to you like this but we've been living in hell ever since

Mods please ban Tuomas

?

I will be posting my thoughts on the first two issues of The Invisibles early this week!

Can’t wait to catch up on the thread and see what people are saying about those first two issues of The Invisibles

I’m going to *not* do a dump of some random thoughts from here on our and, delving into both the guides published for the series and my own thoughts, avoid plot summary as well. But for today..

#1/#2 of the first series of The Invisibles

The Invisibles starts off with a bang. Well, multiple acts of violence. There’s the feeling that, given the need for a punchy intro issue Grant Morrison front-loaded the confrontation into the beginning,

This gets dialed back, and put into retrospect (to great effect) later. But the ideas are unsubtle at the start. Morrison’s strength is in his cultivation of ideas. Interviewed, he’s claimed that he has a story he’s returned to, all the way from cheap licensed properties he wrote at the beginning of his career. Alluded to in this thread, he reiterates and builds. There are a lot of pieces in the beginning here, that seem like one-offs, that he returns to later in the series. The best reader of Grant Morrison is Grant Morrison, and it’s not as much a Chekhov’s gun situation as it is an intentional building on prior work.

The Dead Beetles title is literal and figurative. I feel that Lennon-as-godhead is part of a thought cloud of ideas riffing on the title. The scarab pushing the orb comes first: The scarab being the titular beetle, the introduction of Dane as Liverpudlian follows as a character origin. It takes Morrison until the next issue to give Dane a voice of reason friend on the street who’s from Glasgow — author insert? King Mob/GM fusion isn’t evident yet. Morrison loves conceptual zeitgeist/rock figures as embodiments of orgone energy or cosmic fulcrum. Lennon is.. the dead be(e/a)tle!

When I first read the series, I was irritated by Dane at this point. He’s the kid with completely justifiable impulses to lash out, with a sympathetic teacher he can’t hear, and a judge who says all the right things within a system he’ll never listen to — with reason — because it’s never done shit for him. Ironically, the first words of the Harmony House administrator, who we then see is serving evil, are right. He’s the square peg they’ll shape into fitting in that round spot, but it’s the Invisibles who will be doing it. But with kindness (really?), as in the second issue we get to..

Tom. Tom’s much more sympathetic with every reading, (And so we return, to begin again) as the character most in tune with the world as it is. He introduces us to magic as it exists, the will to understand the world as it can be and accept that what happened was the results of your incantations. Abandoned tube stations as sanctuary, constructed totems, mold as cosmic hallucinogen. Is it really magic, or is it Dane accepting that scrapings from a dusky wall is a drug to take him beyond? It’s both, I’d say.

The magic of monarchy and ancient ritual are both accepted and ridiculed throughout the series and the faux-fox hunt, with the as-yet-unnamed introduction of Sir Miles are a bit cliche and heavy-handed as they escape a literal hunt of the homeless.

The ending with the hinted-at but unintroduced Invisibles posing as the hunters at the end is another incident of parallelism between the purported villains and our yet-to-be-introduced team. We’re the good guys, and we’re doing this as a hazing ritual! We’re not the good guys. The series will draw nuance later, but at this point the differences between the Invisibles and their not-yet-named adversaries are vague. We’re fucking with you, but.. for good!

"And so we return and begin again" was semi-nicked 20 years later for The Wicked and the Divine, which is actually the only time since then that I can (probably faultily) remember a creator doing the "I've written stuff before and I'll write stuff again but this is The Big Work"

The first time I read this, in early 2007, I had never been to London. The first time I went was a few months later, after reading this, and until after I'd moved over here a couple of years later, I had never seen homeless people with the regularity that you do in this issue.

I can't honestly remember whether I went to New York or London first but when I'd been to both I was struck by the fact that the homeless population in NY had a much larger percentage of people with (obvious) mental issues - this is no longer the case, and not because NY's gotten any better :/

The first cover is by Rian Hughes, who presumably designed the font for the creator names that continues into cover 2, which is I think the first time I saw Sean Phillips' painted work? It's fucking beautiful. Hughes will also have done the Invisibles / Streisand logo?

I remember hearing the theory that Tom was a time-shifted Dane, at the time.

"Urizen, deadly black in chains bound" is from Blake of course, and reminds me of the giants of London bit in Heaven, the last track in Alan Moore's piece about Blake.

There's no letters for the letters page yet of course (when did the practice of sending out samples early to get some kind words in?), so in the first two issues we get two-and-a-half doses of Morrison as the kid's version of a Very Exciting, Grown-Up, taking drugs and chances in Tahiti and Kathmandu and New Zealand - the half is because he got to share the On The Ledge column with J M DeMatteis (before he was using his comics as telephone boxes to stick up his guru's card in).

(I'd forgotten that he was pulling the Brett Anderson "heterosexual (with possible latent homosexual tendencies)" line here)

On the other hand:

THE INVISIBLES is what I'm going to be concentrating on for the foreseeable future, and I think I've at last found a concept wide-ranging enough to accommodate all the ideas I've had which would otherwise be spread through a succession of one-shot books and specials. Although we have a core group of characters, anyone can belong to or oppose the Invisibles, giving me the opportunity to tell stories ranging across time and genre, stories that will eventually come together and be revealed as one large-scale, shimmeringly holographic tapestry. Generally, the longer stories will feature the activities of our five principal players, while one shots will explore the lives of various ordinary and extraordinary folk drawn into a web of conspiracy that extends from the back streets of your home town to the dark blue-green planet circling Alpha Centauri and beyond, out past the horizon of the spacetime supersphere itself. This is the comic I've wanted to write all my life--a comic about everything: action, philosophy, paranoia, sex, magic, biography, travel, drugs, religion, UFOs... you can make your own list. And when it reaches its conclusion, somewhere down the line, I promise to reveal who runs the world, why our lives are the way they are and exactly what happens to us when we die.

very very sign me up

Week 2: Vol 1, issue 3, Down and Out in Heaven and Hell, Part 2; issue 4, Down And Out In Heaven And Hell Part 3; issue 5, Arcadia, pt 1: Bloody Poetry

https://i.imgur.com/QyXzMtE.jpg

"Even your life doesn't belong to you." That's what King Mob says as the rest of the cell disappears into the dark, and it's true, isn't it? The only way to be free is to fight against the outer Church and everything, but you can't do it alone and that comes with obligations.

"Nobody's got a good word for the younger generation nowadays but all they need's the threat of death to get them going." Whether it's the past or the future, Freddie/Tom has always been funny.

I've always loved London pigeons, diseased and stupid as they are, so Tom telling Jack to leave them alone is one of my small favourite pieces of this issue. :) I used to take photos/videos of unusual or strange looking pigeons when I was in London every day, they are everywhere and nowhere at once. You see them perching on anti-bird spikes and wobbling down bus lanes obliviously. Stupid, endearing birds!

Also, I just realised that park they're in is St James's Park.

"All my teachings are on this level of consciousness and that's why you can't remember where all the time has gone." I had never thought about this line before, it always flickered past me like taxi lights in the dark. How long has passed?

"When you dream, what makes you think it's not real?" - lol, this is one of the most obvious bits ripped off by The Matrix early on.

I get such an ache rereading the scene at St Dunstan's-in-the-East, because the look in Tom's eyes as he sees himself and Edie pass by in the past kills me. Both Toms quote the same part of King Lear.

Lol when Jack says he can't be arsed by any more walking around - in this issue they've gone from St James's Park to Tower Bridge to St Dunstan's in the East to Cleopatra's Needle which is about 2 hours. More or less a straight line down the river in both directions.

Dane's awakening is always very moving to me, water-based rebirths are such a cliche but this one really got to me.

Sorry I'm late doing this today, if I don't post 4&5 today it'll be tomorrow!

The ending with the hinted-at but unintroduced Invisibles posing as the hunters at the end is another incident of parallelism between the purported villains and our yet-to-be-introduced team.

The bizarrely didn’t fix that in the trades or omnibus!

Rereading issues #3 and #4 made me feel even stronger about what I mentioned earlier in this thread: Dane is being gaslighted, almost brainwashed into accepting the Invisibles' agenda. First King Mob's cell abandons him to live on the streets for months, then when he's at his lowest point, Tom comes along to give him a new ideology that makes him feel like he has a purpose and place in the world. The most damning bit here is the Invisibles masquerading as the hunters: what other purpose does it serve than gaslighting?

This honestly feels as bad as the V's manipulation of Evey in V for Vendetta that Morrison criticises later in The Invisibles, yet Dane's conversion here is depicted as a completely positive thing. I honestly feel Morrison changed his mind about the morality of the whole thing later on.

There's a clear colouring error on the last page of issue #2, when we first see the Invisibles-disguised-as-hunters: both Boy and Fanny are coloured to be as white as Robin and King Mob.

This isn't remotely true, though? Boy is clearly darker than Fanny (which has always been the case quite apart from her fondness for makeup) who is clearly darker than Robin - if there's a colouring error then it's on King Mob.

I'm genuinely not sure if you've spotted this, but the gent he tries to sell a Big Issue to in #2 is the only non-Invisible person he talks to all issue. For good or ill, he's not been abandoned.

(he = Dane there, sorry)

Yeah, I know the Invisibles are still keeping an eye on him, but they have let him live as a homeless person for months instead of taking him in because... he needs to suffer to understand their viewpoint, or something? And on top of that they dress up as the hunters and torment him, because he needs to see how the enemy is? Even though it's not the enemy but his supposed comrades? How does that make any sense?

This isn't remotely true, though? Boy is clearly darker than Fanny (which has always been the case quite apart from her fondness for makeup) who is clearly darker than Robin - if there's a colouring error then it's on King Mob.

Coloring error might be in the reprints? There isn't a huge degree of variance in the original issue but it's there.

I am looking, at the original issue.

Sorry, I misread that.

I’m not on board with the overly broad use of “gaslighting” given Dane could only recognize King Mob out of the group and doesn’t seem to, but it’s definitely a sort of indoctrination by force.

For good or ill, he's not been abandoned.

This makes it worse! Dane has absolutely no idea who these people are, and if he did pick up on their repeated presence it’d seem like surveillance, not well-keeping

Morpheus in The Matrix was a lot more soft-handed, lol

It becomes obvious fairly quickly in the third issue that they’re play-acting as the enemy in hunter garb, but it’s still them. Theatrical reproduction of the enemy’s terror, but Dane’s still looking like shit on the streets

A microcosm of the series at large, where even the players aren’t sure if their manipulation is for a greater purpose or if it’s cruelty for the sake of cruelty

As we progress, it’ll be interesting to see how I feel about different characters this go around. I was a lot more sympathetic to Sir Miles on my last reading!

almost hissed out loud there, mh. Sorry, i still need to do 4&5, later I promise!

Dumb question: is Boy trans? Had to wonder in that panel where King Mob challenges Dane about this being a "man's" job.

I mean, show Michael Gove a button marked 'memory hole this immediately"... But yeah, it was a tenuous link.

Invisibles Live

This is what it’s like living in Windsor. You go for a walk in the morning and find grown men parading down the high street in fancy dress pic.twitter.com/zBt0Up35XJ

— Chris Morris (@thatqueerchris) December 14, 2020

Anyway, on to the last two regular issues, and I'm delighted but not surprised that they're as good as I remember - the only real criticism is that for a "bringing the whole team back together" story, Robin and Boy don't actually do anything? The same page that Robin turns on her nanomachine bracelet, Jim lets her know that he doesn't need it. They're exposition sponges mostly - but on the plus side I do love hearing GM's exposition gabble.

The framing device in 2012 Liverpool has an establishing shot of the Liver Building - I can confirm that it and its imaginary birds, Bertie and Bella, survived until at least then.

"It's like something out of a film, like a computer simulation, you look at it and it's just so unreal you have to accept it" - this has a resonance for me that it didn't have at the time. Just over 3 years ago now, me and Jen came back to mine, turned the electric blanket on to warm it up, and five minutes later it caught fire. We were in a different room, so it was only when the smoke alarm went that I went to open the bedroom door, and at the corner of the bed where the lead from the socket was, there were three tall narrow flames, straight up. They looked completely unreal - but it turns out it doesn't matter, you still react as you would to 'real' fire.

Completely otm on the link between Crystal being the outlet for Dane's love and the second issue.

I fucking love 'I knew the third word on page fourteen of "The Cat in the Hat" and I knew that it was "fear"'

That's Fanny on the cover triptych twice (though the er sun seems a lot brighter on the last one?)

The line on how the resealed abscess would result in "an anomaly, a haunting, a cold spot" reminds me a lot of Sapphire and Steel.

"Nobody knows what I am" stuck with me a lot.

blows dust off this thing

Hello! Never meant to go so long until updates, but well, life.

Today I'm finishing off volume 1 & will resume with Vol 2's first two issues tomorrow.

Week 11, vol 1, issue 25: 6 and a Half Dozen of the Others

https://i.imgur.com/uKUaisS.jpg

Division X, Division X, Division X! I love the Division X lads A LOT, and none more so than Six.

https://i.imgur.com/LWCGeEm.png
we open with some fairly arresting imagery. The fly on the roulette wheel, which foreshadows the reveal about this woman later (the roulette ball, whuch is moved by someone outside the wheel, is watched over by the disgusting figure of the fly). And yet, we need flies, don't we? They perform an important role in processing waste and all manner of detritus.

Jack is trying to sort out his TV's reception while he talks to George about Father Ted, and how it reminds him of The Third Policeman. George doesn't know either O'Brien or Father Ted, but he does have an anecdote about shooting a one-armed IRA bloke. I really enjoy the rapport between the Division X crew.

Pretty amused by George crediting his youthful looks to Eva Fraser's facial workouts. That concession to modernity aside, our lads have attitudes as embedded in the past as their clothes (and the characters from various 70s police drama they were lifted from).

"I swear by it, I'm shagging birds half my age."
"You always were, you dirty sod."

They chat about Six for a bit, he gets called the third policeman (which I love even more, having read it since the last time I read this series), and just like always happens, Six corrects Flint with one hell of a technicolour entrance.

"The third policeman, eh? Bloody Six..."
"That's 'Mister' to you, Jack."
https://i.imgur.com/NIBFQsG.jpg

George has been throwing darts, but not at a board, and he finishes what he's doing as Six opens some champagne to toast the return of Division X. George "joins the dots", by marking the words formed by his darts. The message is simple: CROWN IT.

Jack curses the evident royal connection that the message seems to imply while George drives, glass of champagne in hand.

They meet their boss, Paddy Crowley ("rhymes with foully") in the joke shop where everything's gone down with Miss Dwyer and the King-of-All-Tears. The normal specislists can't hack it, so Division X have been taken out of storage.

The joke shop looks even more sinister in the light of day; grotesque pig masks, tarantula figures and what looks like a Ku Klux Klan hood in the background.

Crowley has a mysterious jar that has been appropriated from the Prime Minister. The substance in the jar scans and imitates thoughts. Six sees a naked woman, Crowley sees rabbits. Magic or Watership Down?

Cut to a glass-lampshaded room and a group of old women huddled over a ouija board.

The planchette starts moving, to the horror of the scam magician running it, and spells out "you're nicked, my son." As Six says, style never goes out of fashion.

In the bathroom, Flint is engaging in an old-school water-based interrogation. First the shower, then the toilet. The toilet works; Flint starts to get answers. Benny has been asked to help with a shoggoth, and starts gasping out "tekeli-li!" between dunks. Satisfied, Flint leaves after learning the identity of the van driver, but not before telling the old women at the ouija board "Gerald says will you stop bothering him, you grasping old cow. He spent the money on drugs."

Next, the gang confront the van's driver, a National Front psychic who's taken a Masonic oath. A little pressure applied from Flint and Eddie the Wigan Wanker opens up like a face smashed into a wall. Eddie leads them to Quimper, which is where the issue starts. But why, Division X wonder, is there such secrecy around the mirror he was paid to drive down from Scotland?

While waiting for Quimper, they talk about the Invisibles. Again, Six has the best line:
https://i.imgur.com/7zuSgJe.png

George is approached by the woman (Denise) from the start of the issue, who quickly tells him that "they're making the girls do it with aliens...Tracy from in here was half-mad when they found her..." but before she can say much more she's interrupted by Flint and Six returning from questioning Quimper. However, George has a tape Denise has slipped him.
https://i.imgur.com/wjrQJMW.png

Soon, however, they're held at gunpoint for the tape and Flint hands it over, to George's horror. Some quick work by Flint and Six gets them out of there alive, but without the tape.

Back at Division X HQ, Jack reveals he slipped them his Father Ted tape, and he's still got George's.

The tape shows a vampy-looking woman with sharp fingernails having sex with a woman "got up to look like Princess Di," however, the truth is soon revealed, and the woman is revealed as a shoggoth. This loops in to later strands of plot, mainly volume 3.

They return to the club, but Quimper has physically left the premises, leaving only Denise for him to speak through.
https://i.imgur.com/kwUWmTd.png

The envelope reveals the name of Sir Miles Delacourt, our old friend.

"Christ, we've had it. He's untouchable. This goes right to the top," Flint says, with dismay.
"Then, gentlemen, so must we. So must we," Six replies.

On first reading, you're like, how do these guys fit in with everyone else? But on later rereads there's lots revealed earlier than you think or left to simmer for vol 3.

Resuming with vol 2 tomorrow, will reply to previous posts as well!

Thanks for this!

I... don't love the Division X lads? I don't know if it's being male or just a half-generation older, I feel that generation of TV shows as a more solid and malign presence.

That said, while I draw the lines at their social attitudes, I do like a bit of police brutality if it's funny. And I love the idea that a big lad who's into all of the drama of the masons and the NF would also be into other drama in ways unacceptable to that lot.

I love Mark Buckingham, but I swear I saw one of the faces at the séance in Miracleman as well.

the woman is revealed as a shoggoth - I've been reading this as the twist is that she is Diana, and this is the attempt mentioned in #11 to breed a 'better' moon-child.

Two nice catches from Anarchy for the Masses - Quimper is dressed like John-A-Dreams, and the jar with the mysterious green substance appears to be similar to the ones in Harmony House. Also the statue of Churchill that they careen past in their commitment to drunk driving looks like Quimper in profile.

Lads, I'm so fucking bad at this and I can only apologise. The only thing that makes me feel less bad about it is the fact that, with the exception of Andrew F, you are too.

Volume 2!

Week 12, vol 2, issue 1: Black Science, Part One: Bangin' and issue 2: Kickin' (Black Science Part Two)

https://i.imgur.com/s2v9BQC.jpg

This full page reminder of what it's all about is overwhelingly text-heavy to the point I look at it with my 2021, stuck-inside-all-the-time eyes and think "Dr Bronner".
https://i.imgur.com/vWt8GPj.png

I love that the volume opens with Jolly Roger in midair firing both guns. I love Roger a LOT and I will talk more about this as the volume goes on. Volume 2 is the patchiest of the three, but it's got some of my favourite parts, and Roger is a big part of that.

We go to the live context: Roger is fighting for her life in Dulce, New Mexico. If you're a conspiracy type that place already has meaning to you: it's the site of a conspiracy theory about the US government holding aliens and conducting top secret - it's Roswell in the desert basically.

As Boy says later this volume "She's good, that Jolly Roger." And she is. She's carving through the base's soldiers without sweating.

But like all hard women, Roger has a vulnerability and it's her cell, who get shot and captured right in front of her. We see Roger fight through to gaze at something as yet unidentified and murmur "It's real. It's fucking real."

Here's the title, and King Mob's dive seems to sync with Roger's leap at the beginning - not a coincidence. We see he's training, but there's fun in it too; he shoots a single balloon as he splashes into a pool. Robin asks him about "Nice and Smooth" as King Mob climbs out dripping. Robin's wearing a tshirt, knickers and a pair of boots and there's this easy intimacy between them that underlines, along with the guns, exactly how different this volume's going to be. Big budget bangs, guns, sex, glamour!

The rest of the cell has been apart from them for a year, and they are soon to reunite. In the meantime, "I think I've lost one of my fillings," is a fucking hilarious thing to say during a sex scene. Robin's wordless speech bubble suggests she thought it was worth it. Also, KM's head in her lap echoes the mannequin's head deja vu back in vol 1.

Here's our host/benefactor/patron??? Mason Lang. Big Bruce Wayne vibe off him.
https://i.imgur.com/fDcF82J.png

Mason gives us the backstory: he experienced an alien abduction as a child and has since been obsessed with the secrets of things. Luckily unlike the rest of us he's a billionaire, and can pursue his passions.

The liquid software reminds me of the Matrix downloading knowledge to people. Or vice versa, rather.

And then Roger shows up! And King Mob knows her! Now he gives us the backstory: she trained with him in North Africa and she leads a leabian cell called the Poison Pussies. I don't think our cell has a name, does it?

Robin is looking at a polaroid of a big fluffy cloud, but won't explain it. I appreciated this bit of sauciness:

https://i.imgur.com/SKHXjrf.png

Out in the garden, KM and Roger are practicing shooting and catching up. They have this great exchange about Jack.

Roger: This the kid everyone's talking about? Some people are starting to say he's the Maitreya, the future Buddha.
King Mob: I suppose if the Buddha grew up poor in Liverpool and swore a lot, he might be a bit like Jack.

The year is for the cell to rest and recuperate from the trauma at the hands of Sir Miles. Yet as KM admits earlier in the issue, the single day has scarred him.

Everyone else arrives! While Jack is flopping on Mason's chaise and talking about wanting to live on top of the Chyrysler building, Boy instantly picks up on the changed vibe between Robin and King Mob.
https://i.imgur.com/we6HkiO.png
Fanny, as usual, gets the best line.

Roger and Fanny eye each other suspiciously and the temperature drops about fifty degrees. Celsius.

Roger tells them then about the botched base invasion we saw at the beginning of the issue - and that the enemy has a cure for Aids. She then says that the virus itself was engineered. This is where I went off to Wikipedia and found this highly depressing fact about Aids conspiracy theories:

According to Phil Wilson, executive director of the Black AIDS Institute in Los Angeles, conspiracy theories are becoming a barrier to the prevention of AIDS since people start to believe that no matter what measures they take, they can still be prone to contracting this disease. This makes them less careful when engaging in practices that put them at risk because they believe there is no point. "Nearly half of the 500 African Americans surveyed said that HIV is man-made. More than one-quarter said they believed that AIDS was produced in a government laboratory, and 12 percent believed it was created and spread by the CIA... At the same time, 75 percent said they believe medical and public health agencies are working to stop the spread of AIDS in black communities."

Horrible.

Back in Dulce, Colobel Friday enters the picture, talking about fucking with remote viewers who project into the base looking for aliens. And we have Quimper! Who quickly reveals he has a mole in the Invisibles' camp. Well.

Back with the crew, Mason is talking about one of his favourite things - film theories. Speed is about evolution, he says. Everyone listens hsalf-interested but they're really more interested in the food - particularly Jack, who tears through a whole portion of tortillas for sharing. And King Mob is upset by the gussied-up bowl of cornflakes he's served.

While Mason goes on about Invisibles coding in films, Fanny goes to the bathroom. The men's bathroom. Where she upsets a local hick.

The guy follows Fanny back to their table for a fight but underestimates King Mob, who's in no mood for this shit and he hasn't even had his breakfast dammit. I'd be cranky too.

https://i.imgur.com/FlKOKfz.png

After Fanny tells the guy he does have a lovely dick, he's had it, but KM knocks him on his arse without too much fuss and then they get the fuck out of town. Alas this happy ending has a stinger - Quimper is controlling Roger somehow. Great!

Issue 2 later this week, and hopefully 2 more on Sunday. AF, I will reply to you this week!

Lads, I'm so fucking bad at this and I can only apologise. The only thing that makes me feel less bad about it is the fact that, with the exception of Andrew F, you are too.

I'm still reading and enjoying Gyac, but haven't made the time for a reread myself, so don't have much to contribute! But keep it up...

I do remember finding the first arc of Vol 2 completely thrilling.

There's a pandemic on, neither of you should beat yourself up.

As promised (for once), here's issue 2.

https://i.imgur.com/6F3l8Zy.jpg

Kickin' (Black Science Part Two)

Where were we? Oh yes, on the big shiny enamel train to getting fucked, thanks to Quimper.

We open up with Oppenheimer solemnly intoning "I am become death, the shatterer of worlds." Mason's quote is actually slightly wrong, but never mind. Wikipedia says At an assembly at Los Alamos on August 6 (the evening of the atomic bombing of Hiroshima), Oppenheimer took to the stage and clasped his hands together "like a prize-winning boxer" while the crowd cheered. He noted his regret the weapon had not been available in time to use against Nazi Germany. However, he and many of the project staff were very upset about the bombing of Nagasaki, as they did not feel the second bomb was necessary from a military point of view.

Boo fucking hoo, you made your choice, and at least you got to live with it. Mason's arm outstretched towards the sun's rays recalls the flag of Imperial Japan; this and the Oppenheimer quote are our first serious indicators that his morals are a bit...flexible.

The crew is in New Mexico; the men are off their faces on top of a mountain, the women are down below fighting and planning. (Where is Fanny? With neither camp, hmmm.)

Boy and Robin both agree they don't trust Roger.

Back on the mesa, some of the chat when they're tripping is funny the way things are funny when you're off your face:
https://i.imgur.com/87hQxK5.png

The way they descend the hill is how I go down stairs when I've been drinking. Fully validate it.
https://i.imgur.com/IVNyjo3.png

We hear more about the structure of Invisibles cells for the first time since Edith talked to KM about it in Paris way back in volume 1:
https://i.imgur.com/cjWURk0.png

Quimper and Colonel Friday are talking at the base and Quimper demonstrates his "total control" over his puppets, by means of a certain code phrase.

Robin is waiting on the roof of a house for something. She won't tell King Mob (listening to Kula Shaker ffs) and he says he won't pry. He goes and she waits. We see what's drawn her attention: a little girl getting out of a car nearby. We see then that the girl is past Robin, in this universe, and that Robin remembers every word said at this seemingly meaningless encounter. This factors into her writing the story later - she comes across like an author lingering over a favourite line.

Anyway! Turns out Robin drew Air, which makes her the leader and she's got to dress the part. In flashes we see everyone else's draws: Fanny gets Fire and Boy is Spirit. That's important.

Lol @ Fanny:
https://i.imgur.com/u1bIM0m.png

The gang breaking in - King Mob, Robin, Roger, Boy - get in without much trouble, but King Mob is distracted by a cage containing a gleaming, formless substance. At the same time we see the porcelain train gliding by.

The backup team in the hotel room - everyone else - are listening to Mason theorise about Independence Day and then a ghostly form that resembles Quimper appears in the wall and hisses "fuck you all!"

Back in the base, King Mob can't tear his eyes away, Robin and Boy are freaking, and Roger gets hijacked. Shit's fucked basically, Boy otm.
https://i.imgur.com/LR0Keug.png

I've forgotten a lot of Volume 2, I have a vague memory that it's my least favourite, but we'll how that goes.

I definitely wasn't expecting it to get off to so much of a bang - into a Secret Government Base twice in two issues!

her cell, who get shot and captured right in front of her

She mentions later that two of them get out - it might just be Bobby that's gone.

The T-shirt that Robin's wearing is basically painted on - I understand Jill Thompson was pretty pissed off about what happens with Robin's sexiness in this volume.

I think the "small dining room" line is actually nicked from Batman-the-film!

It's an interesting bit of operational security that King Mob just says "A friend" got them over to the US when we know that it's Jim Crow.

King Mob: I suppose if the Buddha grew up poor in Liverpool and swore a lot, he might be a bit like Jack.

Yeah, this reminded me of Fanny's "What are we looking for, darling? A little lump of smouldering charcoal that says 'Fuck' every five minutes?"

It's worth noting that the year-long gap papers over the business of Jack (dressed here more or less as Keith Flint) and the rest of them actually becoming friends and team-mates - he's less of a standoffish figure than at the end of Vol. 1

It'll surprise absolutely no-one that Phil Jimenez was given tapes of Grant and his mates chatting shit while on LSD to write up.

Nothing more late-90s than film-student level enthusiasm for "my theories about films" including something from Tarantino, followed by lampshade-hanging it as like something from Tarantino.

(Except maybe the line "Drag Queens and Dykes hardly ever get along")

I wanted to go along with the re-read but my damn Invisibles trades have vanished. A year later and going through I think pretty much my entire collection and they are just GONE...

Makes you think. ;000

🐦[The Queen will be taking it easy for the rest of the year. https://t.co/lOBm0inhBx🕸
— Glasgow Live (@Glasgow_Live) November 15, 2021🕸]🐦

_Lads, I'm so fucking bad at this and I can only apologise. The only thing that makes me feel less bad about it is the fact that, with the exception of Andrew F, you are too._

I'm still reading and enjoying Gyac, but haven't made the time for a reread myself, so don't have much to contribute! But keep it up...