In describing his experience in Kathmandu leading up to his monumental Work, The Invisibles, Grant Morrison declares the following:
“… it all kicked off as the cheers from the crowd (from a television featuring a Soccer game between Kathmandu and Bhaktapur) warped into a high-powered whine that might have been starship engine turbines. I looked up from my notebook to see the Shwayambunath temple rearrange itself like a Transformer into some kind of chrome lionlike configuration with exhaust pipes and tubular spirit conduits, seeming to blast its raw holiness into the sky as raging searchlight storms. Overwhelmed, I stumbled back downstairs in the grip of an immense seismic shift in awareness that I could not, hand on heart, attribute to the sole action of the tiny piece of hashish I’d ingested. I negotiated wildly distorting spiral stone steps and candles on the way down from the roof, to flop on my bunk and hang on tight…
I began to lose contact with the physical reality of the room, seeing in its place cranky ancient streets, and leaning ceramic houses haunted by gnomish presences, the current dragging me deeper through hallucinatory ancestral wynds and crabby cobbled alleyways that felt like the archaic half-remembered dreams of childhood.
The effect intensified.
Now there were what I can describe only as “presences” emerging from the walls and furniture. Perhaps someone else would call these rippling, dribbling blobs of pure holographic meta-material angels or extraterrestrials. They were made of what might have been mercury or flowing liquid chrome and informed me that I had caused this to happen and now had to deal with the consequences of my actions. Where did I want to go?
I had no idea. Alpha Centauri was the first thing that came to mind, and the thought was followed by a toppling, spiraling “stargate” effect that completely erased the room from my consciousness and replaced it with another reality…
… “Okay,” they said. “This is what you wanted. The secret of the universe.”
I was turned around, is the simplest way of thinking about it. My sense of being was rotated through a plane I could not now point to, turning my attention to an environment that was not entirely incompatible with theoretical physics’ descriptions of hyperspace, or the bulk, a hypothesized mega-medium in which the entire universes are suspended. This was like that, but real – more real than anything I had ever experienced.
Whatever it was, I had fully entered a space that felt both vaulted and enclosed, like an immense cathedral but also infinite in horizon. It was as if the infinite and eternity could be contained and bottled inside something much bigger than both. The space was profound azure blue in all directions, laced with bright silver lines and grid traceries that came and went, ghost blueprints zipping up and down an invisible monofilament scaffolding all around me. I could not feel my body or open my eyes in the physical world. I wouldn’t have wanted to. My real eyes were wide open here. Stranger yet, my arrival in this place felt like a homecoming [like BATMAN in Arkham Asylum]. All the cares and fears of the mortal world were gone, replaced by the hum of immaculate industry, divine creativity, and, through it all, that unmistakable always-known sense of deep familiarity of belonging and completion…
… Moving through the rich blue space of the beyond were more creatures like the silver blobs who’d brought me there. When one of them passed right through my substance, trailing a tidal wash of emotions, I heard my mother’s voice saying, “Next time I’ll be you and you can be me.” I saw from my own reflection that I was a mercurial hypersprite too and remembered that I always had been. I was fine with that. I understood that we were all holographic sections of something invisible to me in its entirety; I was reminded how to “plug into” the silver grid lines that zipped and glistened in and out of being all around me. These lattices, I knew, were for the input and output of pure information. There was time and space, but those were lower dimensions, useful for creating worlds in the same way that comic artists drew living worlds on paper. Here was an undending perfect day of absorbing eternal creation.
To help explain to my blown senses what was happening and why I was here, the beings were keen to show me the universe I’d just come from and how it looked. When they did, it was one of several, inside something I recall as a kind of stall of incubators.*
*Which is eventually developed into DC’s Orrery of Worlds (See Multiversity).
The universe – the entire space-time continuum, from big bang to heat death, no less – was not a linear stream of events with beginning, middle and end. That was only how it felt from the inside. In fact, the totality of existence looked more like a ball of sphincters, constantly moving through itself in a way that was hypnotic and awe inspiring to observe. There was Shakespeare scribbling King Lear on one wrinkled fold, and just around the corner from him, forever out of his line of sight, was the Cretaceous period and tyrannosaurs…
…And, as if to confirm that ours was not the only universe, it was explained to me that what I was seeing was a nursery of some kind. In order to grow their “offspring,” the chrome angels had to “make” time, because as they pointed out reasonably, only in time were things able to grow as I understood it. Time was a kind of incubator, and all life on Earth was one thing, a single weird anemone-like mega-Hydra with its single-celled immortal root in the Precambrian tides and its billions of sensory branches, from ferns to people, with every single detail having its own part to play in the life cycle of a slowly complexifying, increasingly self-aware super-organism. It was as if I had been shown an infant god, attached to a placental support system called Earth, where it could grow bigger, more elaborate, more connected, more intelligent…
… I was told to return and take up my duties as a “midwife” to this gargantuan raw nervous system. It was important to ensure the proper growth and development of the larva and to make certain it didn’t panic or struggle too much when it woke up to its true nature as a singular life form. Incidentally, what we experienced as “evil” was simply the effects of inoculation against some cosmic disease, so I wasn’t to worry much.
I felt slammed into the sudden weight of my meat on the bed, the rasp of breathing, reeling as sounds returned and the room jigsawed itself backward out of the void, like a kit assembled by opening eyes. The sense of loss, the fall from heaven, was heartbreaking, but it was my origin story too – my personal induction into the cosmic corps, the army of light” (Supergods by Grant Morrison, p. 260-282).
They continue:
“As you might imagine, it was hard to sustain this level of controlled breakdown while running a business. My cometary rise was equaled by a fall; a plunge into dissolution. The more perverse and inhuman the enemies of the Invisibles became, the sicker I got. By the time I realized I’d become semifictional, it was too late to defend myself. The downward spiral expressed itself in darker magic…” (Ibid.)
First and foremost, in ascertaining the facticity oV – Mr. Morrison’s EVENT, what I can say is you is: Take it for what it is from the conscious perspective you hold now, and allow it to enter you. I can personally acknowledge that these types of EVENTS are in no manner atypical of Mystic/Occult Experiences common throughout the centuries, made particularly potent by vortices existent in places such as Stonehenge, the Bodhnath, Dakshineswar, Bodhgaya, Arunchala, Giza, Karnak, Abydos, Dendera, Kom Ombo, Luxor, Tiahuanacu, Machu Picchu, Lake Titicaca, Joshua Tree, and many, many more. I myself have had experiences akin to this. Some even more extravagant and reality bending while completely sober.
The 4 and 2 Rites oV – TLALOC
The above symbol represents the completion oV – the 4 and 2 Rites oV – TLALOC. Throughout Magickal and Occult History, there have always been four alternating Rites oV – Passage, in coordination to the directions, seasons, and elements, that have provided the fundamental structure oV – all Magick, just as the Four Cornerstones oV – the TEMPLE provide the fundamental structure oV – all Reality and the Multi-Verse. The alternating and rotating twin dragons (or Feathered Serpents) represent the Initiation and Ordeal phases oV – the process. The Rites are as follows: the Rite oV – Dionysus (ie. the Dionysian/Bacchic Mysteries, the Eleusinian Mysteries (See Aleister Crowley’s The Rites of Eleusis or a renewed version in The Virtue oV – Gaia Ladrieh), Babylonian Akitu Festival, or the Rite oV – Spring) – expressing re-birth, renewal, etc.; the Rite oV – Mithras (Rites oV – the Bull/Minotaur as portrayed throughout many cultures (ie. Apis, Marduk – the bull oV – UTU, Zeus, Shiva, Pasiphae, etc. and the Rite oV – Summer/Midsommar)) – expressing the Triumph oV – the Lord oV – LIGHT over Chaos; the Rite oV – Succundra (ie. Kalachakra, Rites oV – the Tiger or Lion, Mabon, Samhein) – Rites oV – Transformation and re-asserted Devotion to the Gods; and the Rite oV – ABRAXAS (Rites oV – Serpents, Birds, Scorpions, Arachnids, Completion, Prophecy, and Death or Rites oV – Winter), which represent the final 365th step taken from the four-fold, 90 step staircases oV – the Feathered Serpent. These Rites combination, along with two secret Rites, form the Rites oV – TLALOC (see The 4 and 2 Rites oV – TLALOC, coming soon…).
The Serpents/Dragons, in their rotation, activate opposite Rites simultaneously. The Initiation oV – the Rite oV – Dionysus takes place in tandem with the Ordeal oV – Succundra, the Initiation oV – Mithras takes place in coordination with the Ordeal oV – ABRAXAS, etc. Every Initiation introduces New Knowledge (ie. the Bitter Cup oV – BABALON via the Red Fruit), to which the Ordeal tests, according to Magick Law, in its appointed season. Thus it makes sense Morrison was to experience his “downward spiral” in response to his Initiation. He was being tested. And The Invisibles was the means (Great Work) in which he was to prove the validity oV – His Initiation.
Therefore it is not the validity of Morrison’s testimony we are to examine. It is their ethos. Their ability to Create according to the Word, the consumption oV – their ELIXIR, and subsequent assessment oV- ITh’z effects. In the manifestation of Morrison’s The Invisibles (1996), the clear intention behind the work was clearly and verily defined by two motivating factors (ref. Supergods by Grant Morrison): 1) To change the world, and 2) to reveal the secret of the Universe (a reconstitution oV – an aborted attempted in Animal Man), as revealed to them through their Kathmandu experience, concluding years of preparation and Initiation through Magick Ritual. Therefore, it is The Invisibles, a #1 NY Times Bestseller, that shall reveal: 1) If Morrison’s original intentions were executed as planned in their conception, 2) if a “change” to the Universe was what this Magician actually wished to cause by means oV – their Magick Will?, and 3) What change exactly was actually wrought and to what purpose?
The Introduction of the book begins like this:
“I’m standing in a hallway and I’m invisible. I spent most of my young adult life being that way and I had no divine indication that things were going to change – definitely not today.
I’m in the New York City offices of DC Comics, wearing black and clutching a fresh stack of photocopies, and I have just heard someone say:
“Grant Morrison is here – he’s heading in.”
People scatter but I freeze, and the first thing I hear is the sound of heavy boots, and I hear metal and I hear purpose – and I see King Mob.
This is exciting because it’s like seeing Batman rip past you in the Batmobile, only this is better because Batman and the Batmobile don’t exist, but King Mob does – because THE INVISIBLES is not a work of fiction but an actual account of actual events, and I believe every word of it.
You believe it too, if you know him, and you know him if you love his work.
I spent three weeks trying to figure out how to write this introduction, like a puzzle. Trying to crack some code explaining to you, with occasional poetry, why you already love the book you’re holding, why we both love it…”
Morrison begins the introduction with a silent claim to be an “Invisible,” a term which will be defined throughout their book, but not only this… to be the actual incarnation of the book’s protagonist, King Mob (self-styled after Morrison), named after a radical anarchist group from the late ’60’s who dreamed of starting a revolution through “dreams” (they didn’t actually do a whole lot of anything) of performing Banksy style acts of public vandalism. They celebrated serial killers and published hit-list wish-lists (demanding the death of mostly pop artists) in their scattered flyers. By Magick association alone to these wannabe, delinquent “Gueveras in leather nappies,” we’re already off to a bad start.
Morrison then claims this work to be non-fiction, thereby setting the context in which we are to interpret the book.
Alright. So be it.
But it’s the next sentence that really rubbed me the wrong way. Mind you, I already loved Morrison’s Work prior to reading this. Still do. But I HATED this insinuation. In fact, I don’t actually recall ever hating anything I’ve ever read more. However, I held (and still hold) my resolve to keep an open mind. And in this context proceed with a (very) thorough examination.
“Kephra, the Sacred Beetle, goes down into darkness and rises again, bearing the sun in his mandibles.”
Immediately, we are INITIATED. The winged-beetle Kephra is symbolic oV – a very specific Initiation, taking place between Midnight and the Rising Sun (RA). Kephra is depicted in Aleister Crowley‘s Thoth Tarot in ATV XVIII The Moon (the same we left off with in Arkham Asylum, see previous article: BATMAN by Grant Morrison, Part One: Arkham Asylum and the Clown at Midnight). It is representational oV – a very specific formula (known Occultly as “The Path of the Moon”), in which the Initiate is required to bear their own Light, Wisdom, Knowledge, etc. upon the evolutionary path (from single-cell organisms to higher organization) oV – the Fool until the Holy Mountain (Abniegus*) oV – the Hermit (ATV IX, soon to be represented by King Mob) is reached, as symbolized by the Nine Drops of Blood (each forming the Hebrew Letter Yod) upon the Path. Through free association, Morrison reaches “Dead Beetles,” meaning quite literally John Lennon, whose Ghost-goD of the Past (summoned through an acid-trip, counterfeit Ritual by our “beloved Hermit”) opens a doorway between worlds for the Invisibles’ new recruit – a violent, hard-drinking, chain-smoking, school ditching, car jacking, “Colombine-in-wait” delinquent Dane – cast as the “gateway drug” to Occultism for “comic book” stereotypes.
*Change oV – Spell explained in The Vision of Gaia Ladrieh.
Dane gets himself locked away in a correctional facility for such youthful acts of violence, and it isn’t long before this facility is revealed to be an Archon submission center, where these young are castrated (in a biologically graphic scene seemingly lifted straight out of the “Mars” segment oV – Alejandro Jodorowsky’s The Holy Mountain) and its Headmaster licks the filth from the Archon’s fingers, all ‘fore attending his “work,” adjusting these boys to be “smooth between the legs, smooth between the ears.” But mind you, not before our smooth headed Demiurge arrives in perfect timing to shoot everyone in the face (or genitals). Following a dazzling display of vicious, castrato gun violence, King Mob deposits Dane to the mean streets, where, after some weeks of starving and begging, he meets Mad Tom (O’Bedlam), an Alan Moore/Morrison composite wild man, to be initiated into Magick by the Master our dear Morrison never had.*
*It is interesting to note, that in tandem to receiving this behemoth book, I happened upon the following articles (here and here) that very morning, reading them both just before The Invisibles arrived.
Now in Magick, there are no coincidences. And it is for this reason I mention them. Now I’m not saying that the specific details of this feud are entirely important to our read, but there are definitely some interesting factors at work in the subtext of Morrison’s work, to which this article does shines light upon. It is obvious that Morrison feels hurt by the exchange… and that Moore doesn’t care. This is why Morrison goes to such lengths to supply context to the feud, probably knowing all the while Moore is simply spouting hurtful nonsense, simply because he can. But as these two figures, Moore and Morrison, are, in my estimation (and whether DC likes this or not), the two most important figures in DC History (the third being Jack Kirby, see DC’s Magick Ritual and the Logos – Jack Kirby, Alan Moore, and Grant Morrison), therefore all information in regards to these two is necessarily valid, Magicians being subject to their Word, thus, even in their squabbles, the Scales of Justice are e’er present. Moore’s biggest citation against Morrison is an accusation of Plagarism and Appropriation of his material. Morrison claims homage (and creative response) – all to an influence (Moore’s) that is hard to be ignored due to his tremendous impact upon the Cultus in its entirety. For example, if the same criteria is to be held against Moore, William Blake, Shakespeare, Sir Arthur Conan Doyle, Dr. John Dee, Aleister Crowley, Austin Osman Spare, etc. (ref. From Hell, The League of Extraordinary Gentlemen: The Black Dossier, Promethea vol. 2, The Voice of the Fire, Jerusalem, etc.) all might levy the same accusations against him, should they rise from the dead (much akin to Moore’s own Northhampton severed heads) to voice their own concern over the appropriation of their own Great Work – especially H. P. Lovecraft, from whom Moore has taken great liberalities (see Providence, Neonomicon), had Lovecraft not proclaimed open world freedom to all writers to expand his Mythos – something Moore would never dream of.
Now there’s a fine line between plagarism, appropriation, and homage (the difference usually being proper citation). But let’s lend our Demiurge some lenience and continue forward in our evaluation.
As we return to our story, our Moore/Morrison (via the bald head) composite (*cough* Mad Tom) leads the Dane (a blonde haired, blue eyed (wide eyed) Neophyte – our personified “reader”), being chased by old money stooges, to a “secret” London via the Sacramental Act oV – smoking blue mold growing beneath a Cross. It is here Mad Tom takes Dane on a tour of the city, opening Dane’s eyes to its secret truths (via a much less sophisticated “homage” to William Gull’s tour with Netley, see From Hell, 1989-1998). It is here Dane signs “on the dotted line” to become an Invisible, and is subsequently attacked by our stooges, without due warning.
Welcome to INITIATION, Grant Morrison style.
Dane escapes again, to find further companionship with Mad Tom. Mad Tom opens his eyes to the Demons lying wait over London… to the forces of evil wanting nothing more than “to rule the world.” Tom invites him into “The Invisible War.” Dane resists the invitation and Tom beats him senseless, yelling: “Your heads like mine, like all our heads; big enough to contain every God and Devil there ever was. Big enough to hold the weight of oceans and the turning stars. Whole Universes fit in there!” He beats him. He drowns him. He throws him off a building. Then he’s gifted a hand grenade (which if we reference Animal Man, is representational of the World, transformed by “our stupidity”) and inducted into the Corp.
Welcome to The Invisibles.
Now we proceed into the character background of Morrison’s own “5D” self-projection: King Mob. If we return to our introduction, Morrison reveals two important points in regards to how we are to approach King Mob. 1), Morrison considers The Invisibles to be “an actual account of actual Events,” and 2) they identify with experiencing King Mob as an extension/projection of, and/or residual self-image oV – their true SELF (see The Matrix, which Morrison claims is based upon this very graphic novel, The Invisibles). Point 1 is easily accessible when King Mob is viewed through Morrison’s perception. They view King Mob as a 5th Dimensional Entity, such as Bat Mite, Mr. Mxyztplllk, QWSP, or Tlano (ref. specifically BATMAN R.I.P.), projected into a 2D Medium (ie. a Comic Illustration upon a flat plane (ie. paper)), in which their story “actually exists” in a different dimension and plane of existence (ie. Mindscape, the Imagination, etc.), and consumed, understood, and engaged with by 3D entities (ie. their audience), in much the same way all Events that exist “in Time” (ie. the Leng Plateau, 4th Dimensional entities, etc.) would appear to QWSP (See JLA by Grant Morrison, p. 1074 – 1106). This all makes more sense through a “brief” perusal of Morrison’s Work, where we learn Morrison views “the 5th Dimension [as] Imagination” (see Batman R.I.P.), wherein “the laws of physics and reality can be changed through thought” (see JLA, Ibid). They view Djinn as 5th Dimensional “Imps” (ie. 5th Dimensional concepts that appear as the form oV – Djinn in the 3rd Dimension, Ibid), and “Crisis Events” as Nodal Points “like knots in time” (JLA, p. 1019). They believe it is limited by an “Astral boundary” (Ibid) and that its structure is “transgeometric.”
And the truth is Mr. Morrison is quite right in most of their assertions. The 5th Dimension iZ – the transgeometric shapes (grids) that include the planes oV – all existences (ie. entire continuums exist in planes relative to 5th Dimensional “forms”)* through their 4th Dimensional intersections/entanglements, one with another. Meaning: the plane of reality one perceives exists on the surface oV – a 5th Dimensional transgeometric “solid,” as perceived from the 6th Dimensional “I AM” (which will be expounded momentarily), upon which its limits/edges to ITh’z structure/form (ie. space-sense) are misperceived as “Time” (see P. D. Ouspensky’s Tertium Organum) And within these transgeometric structures do 4th Dimensional entities exist (as we shall see later depicted in The Invisibles and Alan Moore’s Neonomicon, as represented by his conceptions oV – the Leng Plateau), moving even freely between the various planes via “Time-sense.” Therefore, ONE’s “reality” iZ – the 5th Dimensional projection oV – transgeometric desired planes oV – existence, realized in holographic 4D intersections/entanglements (though at times overlayed by the inverted perceptions oV – 7th Dimensional frequencies when their positive extension’s “space-sense” comes into question).
*Compare this with with Comic Book “Continuity” as a 5D “form.” ITh exists as an amalgamation oV – 4D “symbolic” planes (or ideas) projected and transcribed upon 2D surfaces. The “entanglements” between characters are the 4th Dimension, creating a “sense of time.” Due to their transcription in 2D, they exist 3rd Dimensionally as splashes of ink and color upon and within a 3D object (a book).
Therefore, the “actual account of actual Events” Morrison insinuates is a finger pointing directly at the CRUX oV – most of Mr. Morrison’s Work – the creation oV – “actual [2D] Events” transdimensionally through the Demiurgic projection oV – an “actual” 5th Dimensional entity, that can create “Worlds and Universes without End” upon a specific “plane”/page oV – Existence.*
*This is literally how DNA functions when viewed correctly. DNA exists as a 5th Dimensional geometric construct, informing the 2nd Dimensional production oV – “organic” material.
But there is one big, shining fundamental flaw in Morrison’s conception… a flaw which has been adopted by his successors at DC without discernment nor restraint… and is sourced in their unquestioning acceptance oV – the commonplace notion that the 4th Dimension is Time. And with their assertion that “the Omega Sanction is Time” (see Final Crisis), and that Darkseid is then the anthropomorphic representative entity oV – “Time,” the 4th Dimension is cast as the enemy oV – the DC Multi-Verse entire, e’en as “Anti-Life” itself, when in actuality, ITh iZ – its Liberation.
Now in its own way, this misapprehension is sort of cute and endearing… in the same way it is to observe a child’s reaction when faced with its first barking doG, only to realize it’s nothing more than a toy poodle. It’s the same fear one may feel on the first day of Trigonometry class. It is simply a misapprehension oV – “space-sense,” thus initiating the ticking clock. And it is the bedrock Source oV – DC’s Mythological embrace oV – H. P. Lovecraft’s own perennial fear-based, panic-driven, paranoid Cosmicism – a simple and common reaction to Copernican Shock, as is openly flaunted in the episodes of Metron (see New Gods), Kronos (even named after “Time,” see Crisis on Infinite Earths), Carter Hall (see The Forge), and even eventually projected upon BATMAN himself (see Dark Knights: Metal).
But the 4th Dimension is not even as terrifying as Alan Moore might suggest (see Moore’s references to Charles Hinton in From Hell). In fact, when the “space-sense” achieves its conception oV – form in these 4th and 5th Dimensions, incredible Freedom, Liberality, and Power can be unleashed… even unto the Creation oV – a Soul.*
*G. I. Gurdjieff, Creator of the Fourth Way and P. D. Ouspensky’s teacher, believed that no one was born with a Soul. Not even a child. That the Soul must be created. And only the very few achieve this. From my perspective, he was exactly right.
All individual organisms exist within an “individualized” 4th Dimensional entity. The structure oV – this entity can be very easily determined by the dynamic system mapping oV – the said “object” between birth (creation) and death (destruction), yielding trajectories determining e’en beyond that. For organic species, this “mapping” includes all thoughts, emotions, and psycho-chemical reactions that exist in each given point in ITh’z Space conjunction with “Time.” To put it more simply, meditate upon or imagine yourself and your complete psychological, emotional, spiritual, and physical experience at every single age, within every single day, at every single location, during every interaction (including those interactions with the dream world, the experiences oV – “being lost in thought,” thinking about the future, remembering things past, fantasizing, etc.) and combine every one of those snapshots into a singular form, just as every single frame of a motion picture is stitched together into a single “film.” The resulting “film strip” iZ – your “personal” 4th Dimensional entity.
As you have probably realized, the very process of observing this entity will automatically increase your “space-sense,” causing you to feel a sense of timelessness. This is because “time-sense” is only a misperception of “space-sense” (see Ouspensky). And in this Space, Time doesn’t exist.
From this point-of-view, you’ll also begin to realize that your “individualized” 4th Dimensional entity isn’t alone. You’ll realize that every Event that you ever experienced occurred because of Quantum Entanglement with other single or multiple 4th Dimensional entities, and that at certain points in this Space, there is no differentiation between “your own” entity or “others.” You’ll also realize that a large grouping of your “plot points” will be concentrated within a close proximity to certain locations, towns, cities, and buildings. And that these places, buildings, etc. exist “outside of time” in the sense that “you” perceive it. That’s because these “locations” are 3D manifestations oV – the 5th Dimensional structures in place within your reality. And these structures impose certain limits upon your “space-sense,” thus creating the sensation oV – Time.
Which brings us to 5th Dimensional entities… 5th Dimensional Entities exist within a 6th Dimensional Structure… and this 6th Dimensional structure iZ – the Universal Mind. Thus the 6th Dimensional entity iZ – “I AM” – the same sense oV – existence Descartes intuited with his Cogito ergo sum. But in order to understand this clearly, I’m going to need to lay down some proper groundwork.
There’s a reason why this area of consciousness is only breached by Occult Magicians. And it’s the same reason why the Work of Alan Moore and Grant Morrison sears itself into the Mind (and upon the Soul) in a way other talented and incredibly imaginative writers, like Geoff Johns and Scott Snyder, can only dream of.
Let’s take a quick look at Flashpoint and Infinite Crisis (as we’ll get into the New 52, Re-Birth, etc. at a later time).
Flashpoint, Geoff Johns.
Now with Flashpoint, we’re circling back to where we started (see BATMAN by Grant Morrison, Part One: Arkham Asylum and the Clown at Midnight). 2023’s The Flash, starring Ezra Miller, was based, by-and-large, upon this work, which would serve as a launching pad to DC’s New 52 – a complete and total reset to all DC characters and their continuity. The story issues as follows: Barry Allen (the Flash) awakens into an alternate timeline where his powers are missing, his mother (previously killed by Eobard Thawne – the Reverse Flash – a fact omitted in the recent film) is alive, and the total face of the world is completely different. This is a version of the world where the Atlanteans and the Amazons have commenced a World War after Wonder Woman and Aquaman are deceived by members of their inner courts, Cyborg works as the “Defender of America,” Thomas Wayne is BATMAN (Bruce being the one that died in Crime Alley) and Martha is the JOKER, J’onn J’onzz is a Mercenary following the wake of extensive torture at the hands of the Outsider and the Russian Military, Dick Grayson becomes Dr. Fate, Plastic Man is a ultra-violent, murdering psychopath who deals out fatalities like it’s Mortal Kombat, and Deathstroke is a pirate. It is eventually revealed that all of these changes have taken place as the butterfly effect to the Flash deciding to go back in time and save his mother from her fate. If this sounds like a shallowly conceived, inconsequential mess of a story, it’s because it is. Its depth amounts to the creative equivalent of bored summer day playground logic – a continuation oV – “what if” conversations between 10 year olds… the ones where everyone ends up immortal, wearing bullet-proof armor, and possesses total omnipotence – all in efforts to one-up whatever previous conjecture was entertained for 30 seconds of trifle, masturbatory chuckling in the name of amusement.
But why we mention it, and FLASHPOINT continues its “flash in the pan” of “high-minded” comic culinary (M omitted) atomic fusion is, as explicitly advertised, FLASHPOINT changes everything… just not in the way we might have expected. This is due entirely to its story structure, which in and of itself, mitigates all consequences by concept alone, dramatically lowering the stakes at every turn, wherein everything hinges on the Flash running really, really fast to hit the reset button on this very story before we all forget every comic book and movie we’ve ever read or seen before the fast-approaching end of the Omnibus.
Johns simply resolves everything (the way many think a good storyteller should), and in this, essentially erases all of his own hard work. And the problem with is it leaves only a jumbled mess of memories and emotions, without bestowing Demiurgical, blessed, and sacred canonical “continuity” ∴ NO real and lasting CHANGE is achieved within the characters ∴ NO APOTHEOSIS.
Johns does this exact same thing with Infinite Crisis. The story of Infinite Crisis revolves around Johns’ resurrection of Post-Crisis loose ends, Kal-L and Lois Lane of Pre-Crisis Earth-Two, Superboy Prime, and Alexander Luthor, which he repackages and wraps up like a pro Christmas wrapper. These omniscient Watchers observe the Events oV – New Earth, continually reinforcing the spell: “The New Earth only makes everything worse.” And in the wake of BATMAN’s Olmac plan backfiring and BATMAN himself wishing he could just “start over,” each of these god-like loose ends begin to pine for something better than what resulted from the First Crisis. So they opt for a Second.
The resultant “story” is a DC yearbook mashup, featuring Johns’ own superhuman ability to encyclopedically collect all references (as though he’s read nothing but comic books his entire life) in the midst of a “sweeping” Morality Play on Right vs. Wrong vs. Perspective (Welcome to Non-Duality 101, see Rashomon, or even better Advaita Vedanta), where everyone involved is very emotional and affected.
All but Alexander Luthor, who continues to emotionally manipulate everyone and everything involved as he continues his experiments, whom creates an Anti-Monitor tuning fork, which splinters the New Earth back into the Multi-Verse. But this plan predictably fails, and everything compresses itself back into a Singular Timeline again. Crisis averted. Same with a story.
FLASH FACT: At no place in either of these stories is any attempt made to explain any of the Events, Character Experiences, Technology, or “Magics” (God, this really makes me cringe…) from actual scientific, psychological, cosmological, and/or metaphysical backgrounds; nor is any attempt made to break beyond the “unknown”/Noumenon oV – these stories’ origin and place within the DC Multi-Verse, nor its structure. Surprising indeed considering their unique reputation.
As far as I’m concerned, there are really two major statement attempts being made throughout either of these works. One is the reinforcement oV – the Alan Moore approach – “compassion” for everyone (especially villains) via the interchangeability oV – characters’ virtues and vices given varying circumstances (ie. “anyone could have been Jack the Ripper,” “All it takes is one really bad day” and you’re the JOKER, Superman born in Germany is automatically Uberman). It’s a total and unflinching 2D acceptance that circumstance dictates character, virtue, strength, weakness, morality, etc. No soul necessary. One of the most perfect examples of this in Flashpoint is the conceptual treatment of J’onn J’onzz, whom Outsider informs “you’re practically a saint” in other realities. But this is not rogue in its expression. This occurs in the characterization of nearly every individual that takes the stage throughout these entire runs, especially in our villainous leftovers Superboy Prime, Alexander Luthor, and Kal L of Earth-Two. Everyone is merely a slave to circumstance. Very inspiring and moving stuff.
The other major statement occurs via Eobard Thawne, the Reverse Flash, whom effectively becomes the “Flashpoint Paradox”… well… for like a second. Eobard relates: “I’ve never killed you, Barry, because I need you… long enough to generate a speed force that would be accessible centuries after its creation… in my time. you’ve transformed me into a living paradox. You’ve freed me from the shackles of any history! That means no matter what happens to Barry Allen in the past, present, or future – I will still exist!” Now the irony in this “paradox” trope is this exact type of paradoxical entity was already played out in Grant Morrison’s Animal Man, whom Adam Glass specifically decided to “collect” with an oddly placed, undeserved, violent, and ignominous death at the hands of Heatwave in his Flashpoint tie-in The Legion of Doom.
Now Animal Man (aka Buddy Baker) is the original DC “Paradox” (existing within the DC Post-Crisis New Earth as a Pre-Crisis member of the “Forgotten Heroes,” whom still remembers the original continuity*), and actually has quite the “C-List” story, which plays rights into our examination oV – Ethos at the hands oV – our blessed Demiourgos. Following a Sedona Peyote trip reaching to the limits oV – his “story” and impending tragedy, Animal Man decides to go all “Travis Bickle,” and plunges himself into a time experiment to attempt to change the outcome of his “plot.” In despair Animal Man declares: “We’re all just words on a page. I just thought you’d like to know. We’re just a script rushed out to meet a deadline. We can never aspire to more than a penny-dreadful melodrama… some cheap hack is writing our lives.” His supposed friend, James Highwater (whom has no backstory or memories, but gives Animal Man a dossier reading of his identification amidst their Peyote trip) explains to Animal Man that this is all part of David Bohm’s Implicate Order Theory, stating: “Reality is unfolded out of a higher state – the Implicate Order.”
*Animal Man and Psycho Pirate (…and everyone who ever read any of those stories).
In this, Animal Man then represents a Microcosm oV – the Macrocosmic DC Multi-Verse. Within him (a Pre-Crisis “Forgotten” one) is the entirety oV – the DC Continuity contained. We are informed by our random Alien “Creators” (working for “a higher power”) upon their entry into Arkham Asylum (∴ the Universal Mind oV – the Collective, a House oV – unsanctioned Thought, and another Microcosm oV – the Collective Macrocosm in its own “Rite” (see Batman by Grant Morrison, Part One: Arkham Asylum and the Clown at Midnight)), amidst Psycho Pirate’s re-materialization oV – all of his Pre-Crisis memories (see Crisis on Infinite Earths) that “the fragile unified world is giving birth to monsters (via Psycho Pirate ∴ an anthropomorphism oV – previous and repressed memories and evidence of Pre-Crisis continuity) that will tear it apart.” After dealing with the absurdity oV – this new “Crisis,” Animal Man leaves the “story” and enters into Creative Limbo wherein he pursues the Infinite Monkey Demiurge down the “Easy Path to Hell” (“Facilis discenvs averno“). He finds the Monkey dying, clutching its final script within its grasp, which grants Animal Man a literal key to the final gate… where he finally meets his Maker… Grant Morrison.
Grant Morrison, Animal Man
Grant Morrison, Demiurgic Awareness
“Now who did you say you are?” inquires Animal Man.
“Me? I’m the Evil Mastermind behind the scenes. I’m the wicked puppeteer who pulls the strings and makes you dance. I’m your writer.”
“You? You’re telling me you’ve been behind all this? You?…”
“Well… I didn’t create you… or your family. I’m more of a Demiurgic Power. Someone else [created] you to be perfect and innocent and then I step in and spoil everything. It’s a little bit Satanic, I suppose. See? It’s all done here.”
Grant Morrison points at his computer. His screen reads:
“Close-up on Morrison’s hand pointing at the screen.”
“I can make you say and do anything… It’s all here. This is where I write the wrongs of the world…”
“You don’t control me. No. No!”
“… I can make you do anything. I mean, you’re not really violent, are you? You’ve never been one of those horrible characters with a gun in every pocket and too much testosterone. You’ve seen the futility of violence haven’t you?”
“Yes… Yes, I hate violence… I… Why did I do that?”
“I made you do it. I thought we needed some action at the start of the story, just to keep people interested. You can’t hurt me. To hurt me, you’d have to get into the real world and that’s something you can never do. You can’t get into my world. But I can get into yours. I can fake the real world here on the comic page.”
“…You ruined everything. Do you know what you’ve done to me?”
“Of course I know. I wrote your grief and your rage and your acceptance. It added drama. All stories need drama and it’s easy to get a cheap emotional shock by killing popular characters.”
“But that’s not fair.”
“No, it’s not… see, your world is so much simpler than ours. It can be invaded by aliens or suffer catastrophes and nothing matters. It all just comes back, good as new. There’s no problem that can’t be solved by some idiot in tights…. I’ve been planning this meeting for nearly two years. I had so much to say. It was going to be a really good story. But there’s not enough space in your world, things have to be concise… there’s no room to say anything important.”
“Listen, just tell me one thing: am I real or what?”
“Of course you’re real! We wouldn’t be here talking if you weren’t real… you’re more real than I am.”
“…You haven’t been very good at writing my life, have you? I’ve just wandered through a series of unconnected events, with people telling me that everything is connected.”
“Yeah, well, that’s the trouble with my stories – they always seem to build up to something that never actually happens. That’s the trouble with my life, too… We [all] expect starring roles in our own lives but somehow we just end up with walk-on parts. Life doesn’t have plots and subplots and denouements. It’s just a big collection of loose ends and dangling threads that never get explained… this is getting boring. Too much talk. Time for a fight scene, I think. A couple of readers have suggested that it might be interesting to see you fight some other animal-based characters…”
“What are you doing?”
“The idea is you fight this guy and you settle the moral argument by beating him into the ground.”
Morrison then lets Animal Man die while he monologues, then brings him back to life.
“Get up. There’s nothing wrong with you. It’s only a comic… We’ll stop at nothing you see. All the suffering and the death and the pain in your world is Entertainment for us. Why does blood and torture and anguish still excite us? We thought that by making your world more violent, we would make it more “realistic.” More “Adult.” God help us if that’s what it means… I’m out of space, out of time, and I haven’t said anything worthwhile. Nothing left to say. Go home. Go home, buddy.”
The End [essentially].
Now in analysis of Morrison’s statements, in step with Implicate Order, Morrison, as a Writer, is thus the Demiurgic Higher State to Animal Man’s 2D projection. And Animal Man is a 2D projection oV – an anthropomorphic Microcosm, which contains the whole oV – the Macrocosmic DC Comics’ Pre-Crisis continuity (a 5D “form”), renewed from “Ideaspace” (from what Morrison believes is the 5th Dimension or “Imagination”)* which exists within the boundaries of a 3D object or Comic Book.
*Imagination is actually sourced in the 6th DÆM’ON’z’iON.
And oV – this level of thought (whether consciously or unconsciously), FLASHPOINT elected to curb stomp with the pedestrian C-List idiot, Heatwave, in midst oV – a violent rampage, leading to nowhere, revealing nothing… most likely in an amateur attempt to make it seem “more “Adult.”” And in his place, we receive Eobard Thawne as the self-proclaimed NEO-PARADOX, which lasts all for a single eight-panel page before he’s impaled by Thomas Wayne (See Morrison’s explanation above).
And this is essentially the level of thought one can come to expect from our Muggle contributors to Collective Culture and MYTHOS. This is attributed primarily to what I’ve elected to call “Nth Paranoia,” a variation oV – Lovecraft’s “Cosmicism,” but taken to some unique extremes as we will see once Snyder and Co. take the reins. “Nth Paranoia” is a symptom oV – a consciousness’ inability to distinguish the multi-dimensional and independent aspects oV – phenomenon from out oV – Noumenon, due to misapprehended “Space-Sense,” thus the mis-interpretation oV – TIME. Common “Nth Paranoia” tropes in DC are: Anti-Life, the Omega Sanction, Nth Metal (obviously), Speed Force, Anti-Matter, “Magics,” Quantum Now (Johns literally presents us a thought that when past, future, and present collide it’s catostrophic… seriously… that’s all that’s ever happening ever), and even Time. Because these ideas are all conceived of as “unknowable,” they are automatically classified as Noumenon, habitually approached with a sense oV – Lovecraftian Cosmicism ∴ paranoia, and conjectured upon from an invisible foundation oV – “what ifs” as the basis oV – their “imaginary” creativity.
Magicians never make this mistake.
The entire basis oV – Occult Fundamentals* gears almost exclusively upon the discernment of associations. Free Association simply doesn’t exist. Every thought is linked. Thus mandatory training in Qabalah and the Tarot. The Qabalah trains the Magician in the method of classifying associations into the Root Ideas, the integers 0-10. 11 – ∞ are then linked as elaborations. The Tarot links these classifications to Archetypes. 1-10 are represented in their Zodiacal and Elemental variations. QABALISTIC ZERO represents the Noumenon. Thus Aleister Crowley‘s declaration: “I ASSERT THE ABSOLUTENESS OF QABALISTIC ZERO” (Berashith: An Essay in Ontology). And when the associations are projected upon the Tree of Life, you have a roadmap to understanding Consciousness and the Forces of Nature.
Qabalistic Tree of Life
*If interested, Occult Fundamentals and Spiritual Unfoldment vol. 1 and 2 by Dr. Paul Foster Case are highly recommended for deeper inquiry into this subject. If you want the Masterclass, then you’re looking for Excalibur.
The advantage of this system becomes obvious when confronting “Nth Paranoia.” The most common modus operandi of any consciousness approaching the unknown is to auto-associate the unknown “something” to Noumenon, disregarding it either as simply “unknown,” “imaginary,” “supernatural,” etc., rarely acknowledging 1) the actual existence of the said “something,” and 2) the space necessary within their consciousness to expand their conception of reality to allow for and include an unknown force or variable. Before the year 1666 when Isaac Newton discovered gravity, Aristotle and many other ancient thinkers believed there was simply an “attraction” of objects to move towards the Earth. Before the understanding of electricity, the ancients believed lightning was either a manifestation of God, or simply God him/her/it-SELF. These are very simple historical examples oV – this auto-association quality.
The section(s) of reality regarded by a singular and/or collective consciousness as “real” is usually auto-associated to phenomenon in the same manner. Most will associate 5-sense reality as phenomenal. But when it comes to, say, the 8 energy chakra systems of Buddhism, etc., they will be associated as noumenal or phenomenal entirely according to perspective. Now, the auto-association of any variable, force, or “thing” to Noumenon is likewise an auto-indicator of a false perception oV – Space Sense, which leads to the “misperception” oV – TIME.
For example, most people are aware that “their” thoughts are Mental… but what does this exactly mean to them? Some will say that it is “imagination,” or their “soul,” or perhaps their thoughts are merely electrical signals being passed between neurons… but these ideas fail to encompass the entirety oV – the range and scope of their thought, its movements, the forces that act upon it, etc. and these concepts essentially fail to anchor into anything beyond a “some Noumenal unknown.” Additionally, the common assumption follows that “if they don’t know, then no one else knows either,” basing false assertion upon false assumption.*
*Helena Blavatsky attributes this to “vanity,” stating: “… it is quite another feeling which makes them reject the possibility of spiritual and magical phenomena. The true name for that feeling is – vanity. “We can neither produce nor explain it – hence, it does not exist, and moreover, could never have existed.” Such is the irrefutable argument of our present-day philosophers” (Isis Unveiled, p. 115).
But that’s not how it works in the Occult. Each Sephiroth (ie. emanation) upon the Tree of Life represents an entire continuum of numerical associations. For example, when a muggle is asked the question, “What does 1 mean?,” they will most likely ask for you to specify what you are referring to – a quantity, an integer, etc. But to a Qabalist or Magician, the answer to “What does 1 mean?” is simply: “Everything that is associated to the number 1.” But this is only the beginning.
The first three numbers, 1-3, combine to form what is known as the Supernal Triad. These are pre-conceptual values. It’s not until the number 4 that the idea begins to form. Then the numbers 4-9 “complete the idea” in what is known as the רוח אלהימ (Ruach Elohim) or Universal Mind. This is the essential “Mindscape” or “Ideaspace” Alan Moore refers to. But this is not a noumenal/Nth blank canvas conception of Mind. This is the Universal Mind recognized by its individual/phenomenal attributes – such as memory, action, imagination, desire, inquiry, and the subconscious – and their influence upon one another. Each of these attributes are associated to different numbers, which represent continuums of meanings, information, and associated feelings.
Thus, Memories (The Sphere oV – Chesed), Action (Geburah), Imagination (Tiphereth), Desire (Netzach), Inquiry (Hod), and the Subconscious (Yesod), though linked, are distinguished as separate phenomenon oV – Universal Mind. And each of these aspects additionally coordinate to Universal Forces, which are Magickally known as Saturn, Jupiter, Mars, the Sun, Venus, Mercury, and the Moon, which are symbolic “names” oV – actual Multi-Dimensional forces that will one day be as common to Humanity as gravity.*
The teachings of the Pythagorean School are a perfect example of this. Geometry was once only taught to Initiates. It was scoffed at by the learned, therefore necessitated protection as deeply significant “Occult” teaching. Now every 3rd Grader learns the Fundamentals oV – this “Sacred” Science.
Now the Universal Mind links the attributes, associations, and interplay oV – these differentiated “mental” forces to establish distinct 6th Dimensional relations, which can only be glimpsed from a perspective beyond one’s subjection to them (ie. Beyond the Abyss). Until then, due to an incoherent “Space-sense,” they will appear and feel to be Noumenal or “Nth” energies, which creates the illusion oV – TIME ∴ the sense oV – Saturnian restriction. And so it seems, the “natural” reaction to “Time-sense” is FEAR.
Most individuals (and writers) rarely dare even to skim upon the surface oV – these nearly infinite depths. This landscape is where Magicians like Grant Morrison and Alan Moore have elected to plunge in and make their “bread and butter,” possessing the ability to discern and differentiate the “Mindscape” and varying Dimensional Realities from out the Noumenonal/Nth “catch-all.”
And a major key that one must realize and acknowledge when approaching either of their Work, is there’s absolutely nothing extraneous, chaotic, random, arbitrary, nor “made-up” about it. It is perfectly calculated and perfectly logical… just maybe not from Muggle perspectives.
Which brings us back to King Mob.
Intention vs. Reality, Grant Morrison, The Invisibles
We left off with Morrison’s CRUX being the creation oV – “actual Events” transdimensionally through the Demiurgic projection oV – an “actual” 5th Dimensional entity, that can create “Worlds and Universes without End.” We also recognized the fundamental flaw in Morrison’s conceptions being the relative (and assumed) compliance with the “accepted” view oV – TIME as the 4th Dimension. And this is important to recall, for the very fact that: TIME, being a misperception oV – Space, thus manifests as a “link” or pathway between quantum entanglements (ie. EVENTS) within “Space” (via perception oV – distance) at any point the Awareness perceives ITh’z “I AM” as separate from phenomena (ie. Noumenal ∴ oV – Yuggoth). And in Morrison’s “Nth” assumption leading to an allotment oV – the entire 4th Dimension to this misperception, his 5th Dimensional entity rests entirely on pretense.
And due to their inability to discern (oV’Th’AT) that the 4th Dimension is the Multi-verse as a conjunction oV – when Space meets TIME, and not just TIME oV – ITh-SELF, when they succinctly (and correctly) place their concept above “I AM,” thus empowering the ÆNoMYTh (a 7th Dimensional entity) with their 5th Dimensional projection (ie. King Mob), their “I AM” becomes subject to their Creation as opposed to Lord oV – …, which can lead to all sorts of problems.
It’s honestly an easy miss to make when one skips or merely skims over their Freshman pre-requisite material and jumps straight into lab work. Things can really blow up in your face… and even Gods have faltered here (See The Book of Urizen or The Anathema of Zos).
Pater, dimitte illis, quia nesciunt, quid faciunt.
Yet inherent in this “innocent” blunder, quite an interesting dilemma is created in acquiring a proper read oV – our dear Demiurge and their material. For we have established clearly “Intention does not equal Reality.” And this shall be our CRUX through this due process oV – establishing Ethos – discerning clearly, what is Intention vs. what is Reality.
Verily, what Morrison intended for King Mob can be summated as: a Demiurgic projection oV – an “actual” Dimensional entity, that can create “Worlds and Universes without End.”* And what they truly created: A 2D character, confined to 5th Dimensional ideaspace, with vast Mythological (subconscious) yet limited 3D influence.
*This projection would oV – necessity have to be at least a 6th DÆM’ON’z’iON’AL entity (ie. an Avatar) to actually accomplish their stated desire.
I know. I know. You’re wondering what this means in layman’s terms? Morrison believes, in classic Situationist fashion, art is a hand grenade (or perhaps more accurately, that a drawing of a hand grenade is also a hand grenade.)… but a hand grenade is a hand grenade.
And quite honestly, thank God. You’re about to see why.
The cold open into Mob’s story commences with a cacophonic clash of inner dialogue, radio broadcast, and illustration immediately conjuring what Alan Moore means when he utilizes the term “fugue state” – a state considered by modern psychologists to be dissociative amnesia and a sign of mental illness. Moore sees it as the exact same “thing” – the epileptic fit oV – the Saints – however, Moore believes this to be exactly “the Magic State,” the Magician remaining in control via their “filing system” (aka the Qabalah) while the mentally ill (the regular chaps who happen upon this Door) have no way to process the flood of information having “just had the window kicked in.” Morrison “conjures” the “State” for one and all, regardless.
In just their second sentence oV – inner dialogue, Morrison unleashes their artillery, thus their unfortunate readers find themselves immediately caught in the shrapnel storm oV – calculated convolution: “Gerald Gardner inaugurated, the modern current [oV – Witchcraft (implied, but not stated this way intentionally)] – his ‘Book of Shadows’ cobbled together by Crowley for a few hundred pounds.” Now it is true Gardner is considered the “Father of Modern Witchcraft,” but it was Aleister Crowley who inaugurated the modern current oV – Magick (Witchcraft included) in its entirety (See Excalibur). The cheap dismissal of Crowley as “Magic Cobbler for hire,” in the same manner as Salverte (ie. “rascals and knaves”) is an example oV – Discordianism at its worst. When reading Morrison, the vigilant reader is required not only tp be aware of Morrison’s references, but additionally able to catch their gentle subterfuge in the way Morrison references them. By utilizing Crowley in this regard, he allows the reader to fall back to Crowley’s reputation and the subsequent assumptions the “non-initiate” will make automatically when encountering “the Wickedest Man in the World,” thus simply and automatically yielding Morrison authority. They bet large on “the fact” 99.9% of their readers will not do their research, and will never catch them in the act… and assuming the .1% “in the know” just might, they will never do anything about it. Therefore they attempt to toss Thelema aside from the beginning, including its legacy, Magick Traditions, lineage, its Prophet, the literally thousands of pages of technical instruction he (Crowley) himself wrote, the Rituals, the Book of the Law – all of it – all in order to place their-SELF, Grant Morrison (demiurgically projected as an “actual” 5th Dimensional entity, that can create “Worlds and Universes without End into our 2D medium as King Mob) above the Magick Current, above Crowley, above Gardner, and above the entire lineage, all through expressing an obviously misguided, mal-intentioned and subversive opinion,* which they either know to be untrue, or of which have intentionally remained completely ignorant of the facts.
*Opinion, especially in the Age oV – Social Media and the Internet, means next to nothing. It almost never amounts to much more than regurgitated propoganda or hearsay. In order to obtain an opinion that is both pertinent and vital, a standard oV- thorough and meticulous investigation of the subject matter must be obtained – and in the case of a writer, artist, filmmaker, and/or especially a Magician, the entire body of their work should be comprehensively consumed and assimilated prior to any opinion being formed at all, much less expressed publicly.
The fact that both Alan Moore and Grant Morrison embrace Discordianism is beyond me. Its Principa Discordia and the rest of the entire movement, though perfectly calculated to entertain anyone with an IQ of exactly 160, is pure donkey fodder. Its aim to achieve Holy “disinformation” creates only confusion, no actual chaos… which might sound like a neat idea to a suburban schoolboy, but let me tell you, there’s nothing actually glamorous in walking barefoot atop 16′ of garbage with human shit up to your mid-thigh.
Convolution aside, we soon learn King Mob is an assassin who utilizes Magick, Witchcraft, and their (assumed pronoun) encyclopedic knowledge oV – the Occult to… well, kill people essentially. For money… And it seems just a bit of “fun.”
Following their first hit, they divine a sigil from the entrails of their victim, much akin to ancient war-time shamans, then utilizes it immediately to bind his next victim, a Member of Parliament, “in [their] place.” This implies a transference oV – the killer’s vital force (ie. karma) to his victim – the true formula oV – the scapegoat. It is then our Demiurge drops a very interesting spell… one about to come full circle and is seemingly fulfilled in our great examination: “”What goes around comes around…” Number one in the Big Rulebook of Magic… Some words of advice: Don’t mess with Witchcraft. And don’t mess with the Invisibles.”
A True Warning.
Now amidst this outer show, Morrison supplies an interjection. King Mob watches a shadow puppet play telling a story from the Mahabharata. A man in the audience explains to King Mob the role oV – the Dalang (aka “The Puppetmaster”). Through the Dalang, Morrison alludes to the entire story oV – The Invisibles being akin to the Dance oV – Maya depicted in the Hindu epic – shadows upon the wall being interpreted as reality. But the true key here is in the final line… “there is only the Dalang” – meaning, behind all oV – The Invisibles, everything we are about to experience, there is only Morrison. There is only the Demiurge. The rest is Maya. And this shall play out continuoulsy throughout this work as fractal Microcosms representative oV – ITh‘z Creator.
One can create nothing which is not ITh-SELF.
To be continued…
The Invisibles by Grant Morrison: Ethos of the Demiurge, Part Two
