Scottish comic book writer and playwright (born 1960)
Grant Morrison (born 31 January 1960) is a Scottish comics writer whose writing includes The Invisibles (1994–2000) and The Filth (2003).
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I take to patrolling the corridors between the hours of three and four in the morning. I visit the secret room often in order that I might keep my journal up to date. Routine is important, I think. A good routine diverts the mind from morbid imaginings. Sometimes I am sure I hear hysterical laughter from a cell I know to be empty.
I tape over the mirror in my study. The laughter ceases.
And I return to my ritual perambulations. My movements through the house have become as formalized as ballet and I feel that I have become an essential part of some incomprehensible biological process. The house is an organism, hungry for madness. It is the maze that dreams. And I am lost.
What people often forget, of course, is that Magneto, unlike the lovely Sir Ian McKellen, is a mad old terrorist twat. No matter how he justifies his stupid, brutal behaviour, or how anyone else tries to justify it, in the end he's just an old bastard with daft, old ideas based on violence and coercion. I really wanted to make that clear (when writing New X-Men). (2004) Popimage interview
"All the comics are sigils. "Sigil" as a word is out of date. All this magic stuff needs new terminology because it's not what people are being told it is at all. It's not all this wearying symbolic misdirection that's being dragged up from the Victorian Age, when no-one was allowed to talk plainly and everything was in coy poetic code. The world's at a crisis point and it's time to stop bullshitting around with Qabalah and Thelema and Chaos and Information and all the rest of the metaphoric smoke and mirrors designed to make the rubes think magicians are 'special' people with special powers. It's not like that. Everyone does magic all the time in different ways. "Life" plus "significance" = magic."
I'd say to myself or whoever I was with, 'It'll look good in the biography.' and then I'd go ahead and do whatever daft thing it was - like taking acid on the sacred mesa or doing the bungee-jump, getting the haircut, dancing with the stranger, talking to the crowd - whatever I was 'scared' of mostly, or fancied doing, or never dared before, I'd try it on the basis that it would make for a more interesting read one day. (2004)
A child can accept all kinds of weird-looking creatures and bizarre occurrences in a story because the child understands that stories have different rules that allow for pretty much anything to happen. Adults, on the other hand, struggle desperately with fiction, demanding constantly that it conform to the rules of everyday life. Adults foolishly demand to know how Superman can possibly fly, or how Batman can possibly run a multibillion-dollar business empire during the day and fight crime at night, when the answer is obvious even to the smallest child: because it’s not real.