Grant Morrison has done pretty much everything. In a career spanning 4 decades, starting from their late teens into their now early-sixties, Morrison has trekked across most of the Western comics landscape. They’ve done a great deal of work, both big and small. Whether it be redefining major flagships like The X-Men or Batman in Big Two superheroes, helping pioneer the Vertigo weirdness with The Invisibles and The Filth, or being part of the wave of new creator-owned books of Image and Boom in the early 2010s with Nameless and Klaus, they’ve been around and done it. They’ve done Original Graphic Novels, they’ve done mini-series, they’ve done maxi-series, they’ve done one-shots, and lengthy ongoing series, and they’ve even done zines. They were a Musician, with much music of their own, they’ve performed with Gerard Way in MCR Music Videos like Na Na Na and SING. They were even a comics critic and columnist back in the day. And now they work in Hollywood as a screenwriter, as they have done for over a decade now.
Much has been, and continues to be, said about their work.
And yet there is a gap.
There is an odd little gap.
A gap that exists not because nobody’s noticed it, but because it is seen and then brushed past.
Grant Morrison’s Judge Dredd.
