The Invisibles Book Three

The Invisibles: Deluxe Edition

by Grant Morrison

Behind the curtain of everyday existence, a vast and unholy Conspiracy is at work, twisting and deforming reality to pave the way for colonization by hideous extradimensional powers. Facing this onslaught is a laughably small resistance movement scattered across space and time -- a handful of subversives known as the Invisibles.

This silent guerrilla war has raged for millennia, shaping the very fabric of the universe. But now the countdown to the final battle has begun, and soon everyone will have to make their choice: crushing, soul-rending conformity, or radical, anarchic freedom?

Which side are you on?

Illustrated by a host of artists, New York Times best-selling author Grant Morrison's groundbreaking saga of spiritual engineering and psycho-cognitive hacking is now available for the first time in four definitive trade paperback editions. This third volume collects The Invisibles Vol. 2 #1-13 and features art by Phil Jimenez, John Stokes, Michael Lark and Chris Weston.

Genres: Comics, Graphic Novels, Fiction, Science Fiction, Comic Book, Conspiracy Theories, Philosophy

336 pages, Paperback

First published February 10, 2015

About the author

Grant Morrison has been working with DC Comics for twenty five years, after beginning their American comics career with acclaimed runs on ANIMAL MAN and DOOM PATROL. Since then they have written such best-selling series as JLA, BATMAN and New X-Men, as well as such creator-owned works as THE INVISIBLES, SEAGUY, THE FILTH, WE3 and JOE THE BARBARIAN. In addition to expanding the DC Universe through titles ranging from the Eisner Award-winning SEVEN SOLDIERS and ALL-STAR SUPERMAN to the reality-shattering epic of FINAL CRISIS, they have also reinvented the worlds of the Dark Knight Detective in BATMAN AND ROBIN and BATMAN, INCORPORATED and the Man of Steel in The New 52 ACTION COMICS.

In their secret identity, Morrison is a "counterculture" spokesperson, a musician, an award-winning playwright and a chaos magician. They are also the author of the New York Times bestseller Supergods, a groundbreaking psycho-historic mapping of the superhero as a cultural organism. They divide their time between their homes in Los Angeles and Scotland.

Reviews

[Donovan · Rating 5 out of 5]

"I shall become invisible and do outrageous things."

Damn that was fun. Time travel. Multiverse. Meta-verse. Astral projections. Ghosts and aliens. Drugs and sex. It's honestly easy to follow, but you better like detours and utter madness!

The Invisibles go to New Mexico to investigate a military-alien research facility. But of course they're in the desert contemplating the atom bomb, so there's psychedelic drugs and tantric sex. Conspiracy theories over breakfast and references to Tarantino. An evil telekinetic clown. And Armageddon. To name a few things.

Phil Jimenez is definitely my favorite illustrator on this series. His art is on point, clean and realistic. Just a better fit than the other artists. Brian Bolland of course kills it on the covers. And the colors are just awesome.

Check it out! My favorite Morrison work so far.

[Lukas Sumper · Rating 5 out of 5]

The best one in the series so far, certain character arcs conclude with cool twists and a lot of mystery woven into it. The only thing which was getting on my nerve is Grant Morrisons constant focus on sex bordering on the obsessive. At least we got certain side character which I really liked getting more time to shine and it actually left me wanting more.

This book left me thinking how sad it is that there is only one Book left to go, just as it is really taking off.
4.5 out of 5 stars

[James · Rating 2 out of 5]

Grant Morrison's tale of an anarchic super-powered cell fighting an Illuminati-style alien invasion hits a soft reset here, with the team regrouping in the United States after a hard ending in the previous volume. From there they embark on a big raid to try to liberate a supposed AIDS vaccine, travel back in time to lay hands on a mystical artifact and deal with a seeming betrayal in their ranks.

There are a lot of big ideas bouncing around here, but that's one of the problems I have with the story. Instead of defining his setting and characters, Morrison aggregates a grabbag collection of 90s-era conspiracy theories, smushing together ancient cults and Jazz-Age reefer sex with black-site internment camps and mind-controlling aliens. It feels more like a mishmash than a concept, and it also frankly feels like the kind of thing Alan Moore does better.

Beyond that, the Invisibles characters come off like more of an adolescent power trip than an actual group of individuals. They embody the superficial cool of the era, with club drugs, kiss-off attitudes, big guns, piercings and meaningless sex, but it all feels sort of hollow.

Morrison even seems to realize this partway through the story, having his cool assassin lament about how all he's doing is shooting things...but that doesn't stop the characters from doling out about fifty headshots at a secret government base and blowing up the rest with plastique. Volume two of the collection seemed to have some interesting stakes and a real sense of risk for these characters, but that's all washed away here in jump-jump-shoot mode.

The art by Phil Jimenez and John Stokes is pretty impressive throughout, showcasing a quasi-realistic style with plenty of weirdness thrown in. (The coloring feels a little flat, though.) I also enjoyed this volume's journey back into the past and found myself sad to leave behind the tart characters we find there. Time springs forward, and our snarky killers shout their way to the finale.

[Gabriel Llagostera · Rating 4 out of 5]

Este tomo ocupa el segundo volumen de la serie, y tiene varios cambios de cara a hacerla más accesible al público, tomando en cuenta las bajas ventas de la etapa anterior. Estas modificaciones se dan, por ejemplo, en un guion mucho más sencillo y entendible, el cambio de Inglaterra a EEUU, y un solo dibujante para todo el volumen.

Tomando en cuenta lo anterior, este tomo tiene mucha más acción y hay misiones concretas que los personajes hacen; también se explica con mayor claridad lo que está ocurriendo y quién es el gran enemigo a enfrentar. También están las típicas morrisoneadas aunque mucho más contenidas.

En definitiva, el tomo está bueno pero siento que se dejaron de lado algunas premisas y enfoques que hacían al cómic original y distintivo. Veremos qué pasa en el último tomo.

[Sean · Rating 4 out of 5]

This far into the series, I think I'm definitely getting into the rhythm of the series. Things are a little bit easier to understand, and the familiar characters and concepts definitely help.

This book also seemed more accessible than the first two. The stories in this book, which starts Volume 2 of the series, are slightly more grounded and tied into each other, compared to the very "out-there" stories found in Volume 1.

Overall, I think this was a great next step in the series, and I'm excited to see the conclusion in the final book.

[Koen · Rating 5 out of 5]

Just 1 thing: Crazy.as.f*@% !!! :D

Diving into the next one.. immediately!!

[Will Fenton · Rating 4 out of 5]

At times difficult to wrap my head around. Might be easier to understand if I had some coursework in metaphysics or a similar subject. Still, bonkers and fun!

[Tom · Rating 3 out of 5]

Continuing right along...again, it is nice to read these in print rather than as pdfs as I did my first time around.

Rereading this, the part that caught my interest was a story line involving King Mob wrestling with the violence that is so common in his life and work. The stark contrast between the utopian ideals of the Invisibles and the violent methods used to promote and protect them is an interesting thing to mull over.

Art was pretty solid

[Bryan · Rating 2 out of 5]

So I'm re-reading this for the first time since the early 2000s, when it made very little impression on me. I'm about 3/4 of the way in and have been trying to reserve judgment, because I have some friends with excellent taste who swear up and down that this is one of the best comics series they've ever read.

But... it's not good. It's just not. It's wildly inconsistent, a bunch of set pieces stitched together by a narrative that's been reverse engineered to try and make it all feel like more than what it is, which is Grant Morrison making cocktail party conversation about all the Weird Shit they've read about. There are only about three characters in the book that they seem to actually give a shit about, and everyone else exists to set them up for clever banter.

The funniest bit of the book is the last couple of pages, which are a memo that Morrison typed up to pitch this second volume of the series, in which they openly acknowledge that the book is not selling, and then desperately try to convince the reader that the revamp they have in mind was All Part of Their Plan from the beginning.

It took Morrison until halfway through the series to infuse two of the main female characters, Ragged Robin and Boy, with anything remotely resembling an interesting backstory. Ragged Robin's big star turn in this volume has her playing the role of King Mob's sex toy and serving as a leader wholly lacking in confidence. And I'm not even going to get into what a terrible idea it was to name your one Black character "Boy" (though I'm sure 90's edgelord Grant Morrison had an explanation that they thought was extremely clever and not at all racist).

And maybe it's not fair to judge a 25-year old comic by how it feels to read it in the age of QAnon, but the entire premise of a team of anarchist revolutionaries "uncovering the truth" about the secret machinery of the world and murdering dozens of oblivious human patsies along the way feels utterly apocalyptic, in exactly the opposite way from what Morrison intended. And once you realize that none of it is actually going anywhere, that it's just rambling occult improv from someone who's begging their publisher not to cancel them, it's downright fucking gross.

[David Raz · Rating 4 out of 5]

Having tried the idea of switching teams of artists (which worked rather well for The Sandman), and presuming this is one of the reasons for the weak sales, Morrison chose to go with mostly the same team for this volume. The result is that the graphics are much more consistent, which means they are less distractive, giving more focus to the story. I think it was a good decision, though I cannot say this was a critical issue for me in the previous volumes.
The first story arc, "Black Science" (#1-4), deals with the first operation of King Mob's team in the US. On one hand you have some great stuff, like an intriguing new character (Jolly Roger) and great enemies (Mr. Quimper and Colonel Friday), not to speak of great action, both physical and psychic and some romance and sex. On the other hand, some scenes felt redundant (acid taking scene?). One thing that really bothered me was that the King Mob cell are supposed to change roles, and this is made a big deal of, but other than Robin becoming the leader, I couldn't put my finger on the other role changes. On both of these subjects (unrelated scenes and the change of roles), maybe I did not get Morrison's subtle points, or maybe it was just a glitch of his mind.
The next two arcs, "Time Machine Go", "The Girl Most Likely To", "The Sound of the Atom Splitting" (#4-6) and "Sensitive Criminals" (#7-10) are kind of a mirror image. The first deals with the future, explaining Ragged Robin background, and has an appearance of the Harlequinade, along with some of the best scenes in the volume (the future team scene, the dancing scene). In the second, King Mob goes to the past, joining the 1920s Invisibles cell and going into the origins of Edith Manning and Tom O'Bedlam, with another Harlequinade appearance. While the parallelism is interesting, I felt this arc was too slow, with nothing really happening.
Finally, the last arc "American Death Camp" (#8-12), I felt was the weakest arc in the volume. After only one issues dedicated to Boy so far, this was supposed to be Boy's arc. While it does close some of the loose ends, and the concepts behind Boy are intriguing, I felt it was too slow and overall unjustified.
Bottom line, I am mixed about this volume. One great arc, two good ones and a weak arc, so I guess it is going to be four stars as well, though it is not as good as the second volume.

[A Cask of Troutwine · Rating 2 out of 5]

The beginning of this volume, the Black Science arc of the book, might be the low point of the series for me. The Invisibles have traveled to America after the end of the last book and get caught up in an attack on Dulce Base in New Mexico to retrieve an AIDS vaccine the government was hiding. There are ideas about power and submission, the history of America's destructive actions against local communities and disregard for their safety, the new age that dawned on the testing of the first atom bomb, etc. However, in practice the story is just lots of shooting and killing. The ideas feel more like a cover for the basic action movie plot the comic actually provides. All of the above is vaguely present, but only really get discussed at all in a rambling fugue state monologue given by Lord Fanny at the very end of the story.

The rest of the stories are... fine more or less. There's a few decent scenes where King Mob get's called out for his acts of terrorism by his ex-girlfriend, and later he and Ragged Robin actually discuss the growing level of violence in their lives and the effects its happening on them, but in practice it doesn't really do a whole lot of change their behaviors. It's an acknowledgement without any real sense that anything might change, at least at this point.

The comic still has a few interesting idea's here and there (like The Harlequinade and what they might be), nothing in the comic really has any sense of weight or depth. It's all flash and no substance, jumping from one idea to the next. The only story I thought was interesting was American Death Camp, which actually created the sense of intrigue and mistrust that Morrison said they intended the reader to experience.

But one interesting story doesn't change the main issue of the comic, that a lot of it is just a surface level expression of a very adolescent idea of cool covering a hollow center. I'm still planning to read the end of the series, it'd be a waste not to at this point, but I feel let down from my hopes and expectations going into this read through.

[Dustin Steinacker]

I ragged on Volume 2, but I... kinda loved this one, after the initial Black Science arc. The dialogue and narration feels less overwrought, characters like (author insert) King Mob who were too cool for school are humanized and made more vulnerable and thoughtful, and side characters you might not have thought much of get really compelling backstories. The relationships between the characters are stronger as well—there's a reveal between personal fave Ragged Robin and Jack I particularly loved. The supernatural imagery is standardized a little more, but not to the point where it becomes one-note, just to give you more grounding. I guess I miss some of the structural gimmicks a bit, but I still think Morrison does a poor job of conveying what you're supposed to be seeing when there's a time or perspective shift, so I'd say the tradeoffs are worth what we're losing.

The Invisibles really came into its own for me with this one. At this point I'd re-read and recommend to people of certain tastes.

Granted, many of the A-plots work out like this: Heroes attempt some daring mission, unaware that one of their own is being controlled by the enemy. Heroes seemingly get in over their heads, as the enemy pulls an idea out of Grant Morrison's big ol' bag of fringe stuff to incapacitate or dominate the team. Then either the team pulls a more outré trick out of their bag or it's revealed that the situation isn't what it seemed to be. But what he does within that format is quite a bit more nuanced and compelling, at least for me. I no longer read this series and think of the insufferable "I'll just be exploring stuff I'm into, with badass action and all sorts of twists, don't worry I'll make it all work, fingers crossed" version of Morrison who wrote the Invisibles pitch document from last volume's appendix.

[Raymond · Rating 3 out of 5]

3.25. The third deluxe edition of Grant Morrison’s The Invisibles stays the course—improving on facets I’d hoped for and addressing some lingering reservations. Still, it continues to fall short of anything truly mind-blowing, narratively or illustratively. The themes remain noteworthy, and Morrison’s approach to them is often compelling, but the execution hovers just below the threshold of real excitement for me.

This time around, the story leans harder into the psychological toll of the job—whether it’s the metaphysical horror of mind control or the slow erosion of identity that comes with being an Invisible. There’s a clear throughline: our more grounded members begin to question themselves and their role in the rebellion. That shift adds texture to the series, but it’s not quite enough to fully electrify it.

King Mob—always so seemingly in control, even when he isn’t—finds his footing faltering. His use of violence, his place within the Invisible College, all thrown into doubt after a series of events, including being used as a pawn by another Invisibles cell during Boy’s deprogramming. These moments land. And on that note, I asked for more on Boy’s backstory, and Morrison delivered: the reveal that she was actually a deep-cover sleeper agent for an enemy faction? No notes. It complicates her in exactly the way I’d hoped, confirming my suspicion that her origin felt too clean and simple compared to the others for it to be anything but.

Other wins: Jack Frost didn’t annoy me once throughout this entire volume. Mr. Quimper gets more page time—still gross, but intriguingly so, especially for a villain. And finally, the reveal that some Invisible College cells operate even further on the fringe, with means and methods that diverge wildly from the main crew. Very interesting, and something I hope Morrison explores further before series end. It confirms that the rebellion isn’t a monolith of ideologies and strategies—which, considering the series and its themes, actually makes sense.

Not bad, but nothing truly praise-worthy either. I’m going to finish the series, obviously, but I suspect my final feelings will fall somewhere similar to how I felt about Gaiman’s Sandman: I get why it’s considered iconic—it just wasn’t quite my bag.

[Keen Reader · Rating 3 out of 5]

“They can cover the world with cameras, but they can’t stop the guys in the monitor room from jerking off or playing the fifteenth sequel to ‘Doom’ for the hundredth time.”

We follow King Mob, the Brazilian transgender, the ex-cop, the flamed haired mystery and the psychic scouser as they take on a whole number of baddies in many years in many places. In this third instalment of the deluxe series, it’s another sun bursting feast of sophisticated nanomachines, corporate viral technology and AIDS antidotes and other conspiracies. It’s also another riot of intertexuality, riffing on everything from the Human League and The Orb to Shakespeare and Oppenheimer.

Again this is not always the easiest of stories to follow, the continuing shifts in time and place can be very disorientating and frustrating, though at least there is always the wonderful art work, trippy imagery and penetrating colours to compensate you. Morrison said himself that, “Invisibles will more clearly be James Bond meets Tarantino meets The X-Files” and these influences are fairly apparent, but this can be a tricky ride at times, and there is obviously a certain amount of faith from readers that it will all be worthwhile and come together in the fourth and final instalment.
Either way this is a hugely enjoyable series and I look forward to seeing how it all pans out in the final book.

[Casper · Rating 5 out of 5]

The second volume of the Invisibles takes a step further in making the comic more accessible to readers. Phil Jimenez pencils every single one of these 14 issues, and the consistency is welcomed. Although I do like the concept of a new artist team for each new ark, it became a little hard to keep up with, since it's already such a detail oriented comic.
Jimenez does an incredible job, too, so it's hard to be intirely sad that he's a mainstay.

Further than that the story becomes much more focused on King Mob's Invisibles cell. And although I wish there were more one shot stories, these issues do a great job of expanding the world whilst still keeping our main characters in the spotlight. Obviously the Morrison train isn't slowing down to make it easy for people to jump on, it's more like he added grip bars to the side of the speeding train, so people who're crazy enough to love this series would be able to throw themselves at it and hang on for dear life.

As I read more I also look into the man behind the masterpiece and I'm thoroughly convinced that Morrison is the one person who could ever break through my cynicism and make me a believer of magic.

I can't wait to finish this series, so I can start it all over again. Although I don't remember if I've ever been this enchanted by litterature, so I'm still savouring every second of it.

[Nate]

Hey look, it’s the most coherent volume of The Invisibles! Yeah, I must have spoken too soon in my review of volume two, because I really enjoyed all thirteen issues here. Either something clicked in my brain all of a sudden, or Morrison started writing (relatively) straightforwardly. Whatever the case, I couldn’t put this book down and found every arc interesting and/or compelling. Oh, stuff still went over my head I’m sure, but I understood enough to be thrilled and genuinely entertained. Phil Jimenez’s terrific art likely upped my receptiveness to Morrison’s craziness. It holds up great.

Even though the first two volumes didn’t fully connect with me, one thing I’ve appreciated from the start is how Morrison just fucking goes for it at every turn. Anything and everything from his mind is fair game. Of course, that often means obtuse storytelling and severe unediting, but as a portrait of Morrison’s imagination, The Invisibles is frequently astounding. And it helps that he’s actually a good writer.

[Bill Coffin · Rating 1 out of 5]

For those wondering what all the fuss is about on this book, this four-volume deluxe edition is a terrific way to get acquainted with Grant Morrison’s epic end-of-the-millennium story that feels like an extended version of one of those insane conversations people get into at 3am when they have had way too many recreational chemicals. Unhinged, grotesque and gratuitous at every turn, The Invisibles could be forgiven for being all of those things if it was not also so insufferably self-important. Reading Morrison’s pitches for the series reveals a writer who is so keen on saying everything that he ends up saying nothing, convinced that loading every thought he ever had and blasting them onto the page is the kind of brilliance the world deserves. Morrison would go on to produce some fantastic work, but by the powers, The Invisibles isn’t it. It’s that sophomoric orgy of excess some writers go through when they have found success but wish to be seen as Important, and be;icee too much of their own press. At least it’s over.

[dr_set · Rating 5 out of 5]

A plot twist with a plot twist with a plot twist with a plot twist. Grant takes this literary technique to the extreme (a little too far for my taste) to cement the dept and sense of fantastic unpredictability of this series.

The action pack “Hollywood” chapter of the series goes out with a bang, with King Mob and Jolly Roger leaving a Trail of corpses behind. You can tell that Grant had to make a lot of compromises with the story and tone to stop losing sales and keep the series alive.

The masterful introduction of the situationist ideas to mock his own work in a hilarious rapt of cynic self-awareness: “The most pernicious image of all is the anarchist hero figure. A creation of commodity culture, he allows us to buy into an inauthentic simulation of revolutionary praxis. The hero encourages passive spectating and revolt becomes another product to the be consumed.”

[Juan Santapau · Rating 3 out of 5]

Creo que hasta el momento en mi relectura de los Invisibles, este es el volumen que envejeció peor, posiblemente porque es la parte “americana” de los misterios de los Invisibles. Todas las conspiraciones que aparecen aquí han reaparecido en formas empobrecidas en boca de gente que, en la realidad, está al otro extremo de los activistas iluminados y libertinos que imaginaba el libro entonces. Se nota también el impacto de la “violencia divertida” que popularizó Tarantino en esa época. Aun así, el misterio de lo que realmente cayó en Roswell está interesante. El arte es muy detallado en esta parte de la saga, con algunos paneles apocalípticos bien impresionantes. Y hay historias muy entretenidas, como el origami - máquina del tiempo, que es la clase de cosas choras que inventa Grant Morrison en su mejor nivel.

[John · Rating 4 out of 5]

Love the direction this is starting to go in. Morrison is at times brilliant and at times so brilliant it makes my head hurt. The character development is above and beyond what I had come to expect out of the first two collected books. Volume 2 of this trilogy is off to a better start without as much convolutions as the first volume. Only thing holding me back from a 5 star rating was maybe an excessive amount of introduction of new characters. The core group of the invisibles are what I'm here for and I enjoy the occasional cameo from other invisible players along the way but some of these characters seemed superfluous. All i can do is hope that its all neatly wrapped up in book 4 which will conclude volume 2 and entirely contain volume 3.

[Wombo Combo · Rating 4 out of 5]

Definitely the most consistent Invisibles I've read. It definitely has found its own groove and style, rather than feeling like a somwwhat incoherent mashup of a bunch of other things. I'm glad that its come into its own a bit, but there are parts of this that I don't find as exciting as the earlier stuff. Still a solid read. Looking forward to finishing this series. At the end of the day, I have to appreciate it because it's the kind of thing that DC wouldn't put out today.
There's a piece of advice I've heard authors give to new writers: "Write what you want to read." Grant Morrison did just that with these comics because I dont think a single other person could write something like this.

[Christopher (Donut) · Rating 4 out of 5]

Why am I drawn to the critical reviews? Are there cracks appearing in my GM fanboi facade?

Anthony Trollope supposedly did damage to his posthumous reputation by revealing in his autobiography how methodically he churned out his novels, and how preoccupied he was with how much money they made him.

In a similar way, GM's memo printed at the end of this collection (-which was at least short and to the point, unlike most end-of-volume bonus material), may damage the reputation of The Invisibles, volume two, as it so cannily, or cynically, gives the readers what they want, moving the action to the USA, and employing """good""" artists, against Morrison's original plan of using a different artist for each arc in the series. It kind of makes you feel dumb for liking the art.

[Dan Ray · Rating 4 out of 5]

3.5
I have to keep reminding myself that this was the 90's and cut it a bit of slack.
The conspiracy theories of the time are a little dated, and they seem a little cute, a little straightforward now.

This volume was just full of 23's and the rule of 5's and other Illuminatus references, and a jumble of conspiracies greatest-hits. The cast keeps having me think that I'm watching a Mage - the ascension campaign. The Men in Black faction of the technocracy being the villains.

It's fun and it's trippy and it has something from every mainstream occult legend thrown in.

Certainly worth the read, I'm looking forward to the conclusion.

[Zack! Empire · Rating 4 out of 5]

Much, much better than the last volume. It's funny but in a sort of afterward by Grant Morrison, he even mentions how the stories from Book two were probably not stories he should have told so early. I seriously felt like I was going through concrete in a dream with the last volume. This one was much easier and more enjoyable. I like what is going on here. There is some strange stuff, but not so strange that you can't follow it. Grant just seems to go too far with that sort of things sometimes. Here you know some more and it's easier to swallow.

[Zardoz · Rating 3 out of 5]

More weird 90’s conspiracy theories and a deep dive into Robin and Boy’s origin stories. Also, There is a lot more sex and violence. We get a glimpse of the future and also go back into the past to 1924. The plots are a bit more orderly and easy to follow that the previous books. Morrison was definitely trying to amp up the appeal to attract more readers.
My main complaint would be that to many ideas and concepts are being thrown at the reader. It’s like being forced fed a five course meal. You don’t get a chance to enjoy the first course because the third is already in you throat.

[Patrick King · Rating 5 out of 5]

“Chaos sneaks in every time. They can cover the world with cameras, but they can’t stop the guys in the monitor rooms from jerking off or playing the fifteenth sequel to DOOM for the hundredth time.”

Best volume yet — take the “Invisible College” occultism of the previous two volumes and toss in a hefty dose of X-Files and time travel. I read it in basically two big gulps in a single day, by far the hardest one to put down and the most easily digestible. Excited for volume 4, not excited for it to end.

[Daniel Molina · Rating 4 out of 5]

Taking a more intimate approach as it explores the theme of love amongst members of the Invisibles when battling constant doubt of group members' allegiance and the nature of reality, plot twists involving government conspiracies, inter-dimensional travel and issues with identity add depth to the invisibles as they realize they can be their own worst enemy while struggling to fight the Outer Church from oppressing the world.

[Lucas · Rating 4 out of 5]

Astral projecting, magic, archons, hermeticism, anarchy, Grand conspiracies, A diverse range of characters and a plot that keeps you on the edge of your seat.

I definitely felt like I was missing A lot of context, unfortunately the comic book shop didn’t have book one and two and I had to start off with number three. I hope to return to this book after getting my hands on the first two.

I have become a massive fan of the invisibles and Grant Morrison through reading this.

[Lance Grabmiller · Rating 3 out of 5]

Collects The Invisibles Vol. 2 #1-13 (February 1997 - February 1998) and some extra material.

The first volume felt like someone trying to write a coherent story through a nervous breakdown, the second volume got better and now this one is finally feeling coherent and complete. It even fills in some things that were missing from the earlier stories. Good stuff. Still not as great as the best of the Doom Patrol years, but really solid.

[Jamie Connolly · Rating 4 out of 5]

These books are good. And there’s a letter at the end where grant Morrison basically says his fans are idiots. But the story is already hard to follow and there is 6 months between printing each volume so I was a bit lost. I’ll probably read the whole thing again when the last one comes out. Maybe I’ll even end up changing my rating. Until then, 4 stars.