Invisibles talking to each other in their own secret language…” Although potentially off-putting at first Invisible Art, the real legacy of the series, is created by and for those who, as Morrison noted, absorbed the series, those who internalized the series' lessons of tolerance, activism and perseverance. Midway through the second volume of the series, Mason Lang, explicitly an Invisibles-universe version of Bruce Wayne, pontificates on what we might call “Invisible Art:” “It means, basically, that some movies are clearly being made by Invisibles and they contain messages for other Invisibles. In fact, in thinking about the continuing legacy of the series, The Matrix is an excellent starting point. The Matrix, whether movie-goers were aware of it or not, accomplished this. Though Morrison initially reacted adversely to this revelation, his attitude shifted to one of acceptance, as one of the primary motivations for The Invisibles was to disseminate the philosophy to a wider audience.
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When The Matrix hit movie screens in 1999, controversy followed, as some shots from the film reproduced moments from the comics almost to a fault. In his closing remarks in volume 3, issue #1, he says of the series, “Things happen around it and to the people who absorb it.” But, 25 years later, what kind of impact has this mind-bending hypersigil (his description) had? He’s called it a spell, a machine for creating Invisibles. Morrison has always been very clear that The Invisibles is more than just an adventure comic. RELATED: Grant Morrison Plots The Return of His Super Santa Klaus The series ran 6 years, producing 59 issues and 2 short stories, and followed a cast of characters intertwined in the conspiratorial battle between the Invisible College and the Outer Church. Released in 1994, The Invisibles took everything Morrison’s previous superhero works had dealt with and turned the volume up to 11 (to use a Spinal Tap metaphor).
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