This is Part 6 in a series of posts looking at why Alan Moore doesn’t like Grant Morrison.

Part 1: Grant Morrison’s First Ten Years of Comics (1978-1987)

Part 2: Karen Berger, the Berger Books, and Vertigo (1981-1993)

Part 3: Grant Morrison Writes Spoofs About Alan Moore and Says Nice Things (1980’s-2010’s)

Part 4: Comics Written by Alan Moore, then by Grant Morrison (1980’s-2010’s)

Part 5: Grant Morrison Says a Lot of Things about Alan Moore (1980’s-2010’s)

Part 6: Alan Moore Says What He Thinks About Grant Morrison and Morrison Issues a Fierce Rebuttal (2012)

Part 7: Alan Moore Describes the “Persistence of Grant Morrison” and Morrison Shuts Up About Moore (2014-2018)

In 2011, Alan Moore did a live Q&A webchat where he responded to fans’ questions. One of the questions asked was what he thought of Grant Morrison…

QUESTION TO ALAN MOORE: You are somewhat surprisingly not the only acclaimed comics writer from the UK to also be a vocal magician. Obviously I’m talking about Grant Morrison here, who has never been terribly shy about his views on you or your work. Can we possibly draw you out on your views of him and his work?

To which Moore replied…

ALAN MOORE’S RESPONSE: Well, let me see… The reason I haven’t spoken about Grant Morrison generally is because I’m not very interested in him, and I don’t really want to get involved with a writer of his calibre in some sort of squabble. But, for the record, since you asked:

The first time I met him, he was an aspiring comics writer from Glasgow, I was up there doing a signing or something. They asked if I could perhaps – if they could invite a local comics writer who was a big admirer of mine along to the dinner. So I said yeah. This was I think the only time that I met him to speak to.

He said how much he admired my work, how it had inspired him to want to be a comics writer. And I wished him the best of luck, I told him I’d look out for his work. When I saw that work in 2000 AD I thought ‘Well, this seems as if it’s a bit of a cross between Captain Britain and Marvelman, but that’s probably something that he’ll grow out of.’ It was on that basis that I recommended him to Karen Berger when she was starting [indecipherable speech – Vertigo?].

Then there started a kind of, a strange campaign of things in fanzines where he was expressing his opinions of me, as you put it. He later explained this as saying that when he started writing, he felt that he wasn’t famous enough, and that a good way of becoming famous would be to say nasty things about me. Which I suppose is a tactic – although not one that, of course, I’m likely to appreciate.

So at that point I decided, after I’d seen a couple of his things and they seemed incredibly derivative, I just decided to stop bothering reading his work. And that’s largely sort of proven successful. But, there still seems to be this kind of [indecipherable speech] that I know.

And, as far as I know, he’s the only bone of contention between me and Michael Moorcock. Michael Moorcock is a sweet sweet man – I believe he has only ever written one letter of complain to a publisher over the appropriation of his work, that was to DC Comics over Grant Morrison, so the only bone of contention between me and Michael Moorcock is which of us Grant Morrison is ripping off the most. I say that it’s Michael Moorcock, he says it’s me. We’ve nearly come to blows over it, but I’m reluctant to let it go that far, because, I’m probably more nimble than Moorcock – I’ve got a few years on him, I’m probably faster, but Moorcock is huge, he’s like a bear. He could just like take my arm off with one sweep of his paw, so we’ll let that go undecided for the moment.

But, those are pretty much my thoughts on Grant Morrison, and hopefully now I’ve explained that I won’t have to mention his name again.[1]

This was the first time Moore had ever said what he thought of Morrison. He had once called Arkham Asylum “an attempt to polish a turd” in 2002 (in what was sort of a lopsided compliment to artist Dave McKean)…

ALAN MOORE: Well it wasn’t much of a story, the story didn’t really resonate for me on any level, and the fact that it had got Dave’s beautiful sumptuous artwork appended to it, I said to Dave that it was like putting an exquisite golden frame – and I said your art is an exquisite golden frame, it is, it’s exquisite – it’s like putting that exquisite golden frame around a dog turd. I said it’s not gonna make the dog turd look any better. In fact the dog turd can make the exquisite golden frame look a bit – an attempt to polish a turd. It’s like, the artwork, if it’s not in service to something which has depth, it can be the most gorgeous stuff in the world, and the more gorgeous it is, the sillier it will look. Because you’ll be thinking: “Someone expended all this effort and created all this beauty on this story”. It’s like the gap between the story and the art is vast.[2]

…but the above 2011 quote was the first time he had actually discussed Morrison, said what he thought of him, or even mentioned his name.

The Strange Case of Grant Morrison and Alan Moore, As Told by Grant Morrison (2012)

The following year, in 2012, Moore’s webchat quote was featured in part three of a series of articles that investigated whether Moore had ripped off ideas from Robert Mayer’s novel Superfolks (ultimately tracing the charge back to allegations Morrison had made about Moore in 1990).[3]

One week after the article had been posted, Morrison wrote a rebuttal to the article in the form of in-depth red annotations, breaking down and responding to Moore’s quote bit-by-bit, as well as the entire article.[4]

After twenty-odd years of riffing on Moore’s work, spoofing Moore’s work, biting Moore’s style, and routinely discussing Moore (saying a barrage of quotes that range from adoring praise to obsessive spite), Morrison uses Moore’s quote in the article as an opportunity to reposition himself as the victim.

Newly armed with this actual, bona-fide quote of Moore saying what he thinks of him, Morrison constructs a new narrative in 2012: he was the one who’s had to put up with Alan Moore’s trash talk all these years, and he’s also sick and tired of people thinking that Moore’s fame predated his own.

(The entire article, as annotated by Morrison, can be found here. A selection of Morrison’s annotations are reproduced below and remain in red font for clarity.)

2012 GRANT MORRISON: Hope the following rather massive info-dump helps clarify a few things. I also hope this may explain why I’ve sometimes felt myself to be the victim of a genuine grudge that seems quite staggering in its sincerity and longevity. Reading the comments section following “The Strange Case of Alan Moore and Grant Morrison” I can’t help but note how heavily my detractors rely on a total lack of research, gross distortions of historical fact, and playground name-calling to support their alleged points. […]

Pádraig quotes from Alan Moore discussing me during a webchat earlier this year without challenging even the most obvious and basic of the many historical inaccuracies and contradictions in Moore’s assertions. In fact, Moore’s recollections are completely unreliable and I wouldn’t mind having some facts put on record, once and for all. […]

Let’s start with “an aspiring writer…”

The usually well-informed Moore’s grasp of the facts is a little shaky here but the truth is well documented and, as can be quickly verified, my first professionally published comic book work “Time Is A Four-Letter Word” appeared in the independent adult sci-fi comic “Near Myths” in October 1978 (written and drawn by me, the story was/is, amusingly enough, based around the simultaneity of time concept Alan Moore himself is so fond of these days and which informs his in-progress novel “Jerusalem”). By 1979, I was also contributing stories on a regular basis to DC Thomson’s ‘Starblazer’ series and I’d begun a three year stint writing and drawing ‘Captain Clyde’, a weekly half-page newspaper strip about a lo-fi “realistic” Glasgow superhero.

Morrison is offended that Moore would refer to him as an “aspiring writer” when they met in the mid 1980s because he had been technically published at that point in Near Myths, Starblazer, and Captain Clyde.

Near Myths was an underground anthology magazine that folded after only five issues, his Starblazer work was uncredited, and the local newspaper strip Captain Clyde had been given to a teenage Morrison because his dad was friends with the editor.

Here’s Morrison in 1985 describing the readership of his Captain Clyde local newspaper strip:

QUESTION TO MORRISON: Was there any reader reaction during Captain Clyde’s run?

1985 GRANT MORRISON’S RESPONSE: Basically, no. Fairly early on, the paper held a competition and asked readers to send in their opinions on the new comic strip along with their entries. […] As a result, only three people wrote in, two of whom were members of my immediate family.[5]

None of those things were available outside of Scotland, so it’s not clear why Morrison thinks that Moore, who was only in Scotland at the time as part of a book signing tour, should have been aware of these things. Let alone the idea that Moore was pretending not to know about them.

2012 GRANT MORRISON: In October 1978, Alan Moore had sold one illustration – a drawing of Elvis Costello to NME – and had not yet achieved any recognition in the comics business. In 1979, he was doing unpaid humour cartoons for the underground paper “The Back Street Bugle”. I didn’t read his name in a byline until 1982, by which time I’d been a professional writer for almost five years. Using the miracle of computer technology, you can verify any of these dates right now, if you choose to.

Morrison may not have read Moore’s name in a byline until 1982, but Moore had already started writing for 2000 AD and Doctor Who Magazine by 1980. And since Morrison is counting newspaper strips printed in local papers with his Captain Clyde, it’s worth mentioning that Moore wrote and drew the strip Anon E. Mouse for The Alternative Newspaper of Northampton from 1974-1975, years before Morrison had started making comics.

Alan Moore’s Anon E. Mouse (1974)

2012 Morrison is so adamant that in 1982 he had been “a professional writer for almost five years,” claiming that not only should Moore have acknowledged this, but that Moore is “fibbing” to make Morrison look bad.

Here’s a different description of the time period in question made by pre-2012 Morrison:

1999 GRANT MORRISON: Then Warrior came out [in 1982] and I saw what Alan Moore was doing, V for Vendetta specifically, and it was just as serious as anything I might do in a film or a book, and I just figured I’d do comics. […] So I got into that and it was nine years of poverty anyway! I’m bangin’ on doors and tryin’ to get work… One or two things would get published, but you’d go by for a year and nothing would get done and then I’d do a little thing, but I wasn’t working, I was on the dole. It was desperation, sheer fuckin’ desperation.[6]

2012 GRANT MORRISON: I’ve grown tired of the widely-accepted, continually-reinforced belief that Moore’s work either predated my own or that he inspired or encouraged me to enter the comics field when it’s hardly a chore to fact-check the relevant publication dates.

Compare that to what pre-2012 Morrison said:

1997 GRANT MORRISON: I saw Alan Moore’s work on the Marvelman strip that ran in Warrior. “Finally,” I thought to myself, “you can do comics and write them as well as you’d write a novel.” Alan’s work inspired me.[7]

1985 GRANT MORRISON: Warrior convinced me that writing comics was a worthwhile occupation for a young man.[5]

1987 GRANT MORRISON: I gave up on comics. I didn’t think anything was going to happen because of the high hopes I had for Near Myths, which just fell apart. Then when Warrior came out, and Alan Moore started scripting, I thought I’d get back in and work my way up.[8]

1999 GRANT MORRISON: I had given up on them by the mid-seventies and it wasn’t until 1982 when Warrior came out and I saw Alan Moore was getting away with doing sensible, forward-looking work in the comics field that I decided I might as well write for comics.[9]

Warrior, the anthology that first published Moore and Lloyd’s V for Vendetta and Moore and Leach’s Marvelman (1982)

2012 GRANT MORRISON: So I’ll repeat until maybe one day it sticks; I was already a professional writer/artist in the late ’70s, doing work-for-hire at DC Thomson alongside “creator-owned” sci-fi and superhero comics.

Compare that to what pre-2012 Morrison said:

1990 QUESTION TO MORRISON: You were unemployed for a long time before you started writing for 2000 AD in 1986. What were you doing in all that time?

MORRISON’S RESPONSE: I was unemployed for 8 years. […] If I hadn’t still been living at home with my parent at the time I think I would have starved to death after the first week. My getting into 20000 AD was the result of an act of desperation. […] I just kept sending them stuff and needling away until they finally gave me something to do.[10]

2012 GRANT MORRISON: It’s hard not to be a little insulted by Moore’s comments that he recommended me to Karen Berger for, what he has described on more than one occasion, and with a fairly extravagant degree of solipsistic self-regard, as a “proposed Alan Moore farm with Vertigo Comics.”

Karen Berger has confirmed that she asked Alan Moore for recommendations and he told her to check out Grant Morrison.

KAREN BERGER: I reached out to Alan and I said, “Alan, who do you see out there that’s really talented?” And he goes, “oh, you really should meet this guy Grant Morrison, he’s got something. He’s only done a few things but, you know.”[11]

Berger then hired Morrison in 1987, giving him his big break with DC Comics’ Animal Man in 1988.

1992 GRANT MORRISON: In 1987, at the height of the critical acclaim for Alan Moore’s work on Swamp Thing and Watchmen, DC Comics dispatched a band of troubleshooters on what is quaintly termed a ‘headhunting mission’ to the United Kingdom.[12]

GRANT MORRISON: They had a, a kind of, a day where they just gathered everyone. People like me and Neil Gaiman and Dave McKean all went in on the same day to pitch ideas, and I’d come up with the Batman thing, Arkham Asylum. And on the train down I thought up something to do with this old Animal Man character that they had lying about that I liked as a kid. So I went in and pitched these two projects and just sold them straight away, you know. And Karen claims she can understand my accent. Clearly that’s how you do it, just go in and go [speaks gibberish, mocking a really thick British accent] and you’ll get a job with DC![11]

2012 GRANT MORRISON: However, as five minutes research will confirm, the Vertigo imprint was established in 1993, by which time Alan Moore had fallen out with DC over the “For Mature Readers” ratings system and quit doing new work for them (I believe his split with DC occurred in 1987). I had already been working there for six years doing “Animal Man”, “Doom Patrol”, “Arkham Asylum”, “Gothic”, “Hellblazer” and “Kid Eternity”. I had a good relationship with Karen Berger and was a fairly obvious choice for her to call when she conceived the Vertigo imprint. No other recommendation was necessary.

Again, why the fibs, other than to reinforce once more the fantasy of me – and indeed every other Vertigo writer – in a junior or subordinate position to himself?

What Moore is referring to is not Vertigo (Berger’s imprint that started in 1993) but the unofficially titled “Berger Books,” often called “Pre-Vertigo” – the group of books Karen Berger was editing (including Morrison’s Animal Man) that became Vertigo in 1993.

KAREN BERGER: The books that eventually became Vertigo – because the Vertigo line didn’t officially start until 1993 – all had some basis in reality. The key series all started in 1986 to 1988. Swamp Thing was the first pre-Vertigo book that I worked on, then Hellblazer, Animal Man, Sandman and then Shade. […] Most of these guys were new to comics. Jamie Delano had the most experience out of the lot. He had done some issues of Captain Britain. Neil Gaiman and Grant Morrison had only done a few 2000 AD Future Shock stories but nothing for the American market.[13]

PETER MILLIGAN: At the time it was known as the “Karen Berger books,” or the “Karen Berger line.” I thought that was actually really accurate.[11]

It’s surprising that 2012 Morrison doesn’t seem to remember this.

2012 GRANT MORRISON: DC would have found all of us, with or without Alan Moore, who seems curiously unable or unwilling to acknowledge that he was part of a spontaneous movement not its driving force or sole font of creativity.

Compare that to what pre-2012 Morrison said:

QUESTION TO MORRISON: How did a poor boy from Glasgow land a shot at his own DC title?

1989 GRANT MORRISON’S RESPONSE: Well, DC are pretty desperate for us Brits. They had Alan Moore and he was so successful with them so I imagine they were just trying to repeat that success.[14]

QUESTION TO MORRISON: What do you think about this “Brat Pack” thing? All these artists and writers heading off towards America?

1990 GRANT MORRISON’S RESPONSE: Oh, that’s all Alan Moore’s fault. Blame him. He did so well they just had to come over here and find this new bunch of horrible people.[15]

2012 GRANT MORRISON: It ought to go without saying that none of us were told to write like Alan Moore – nor did we – and that this is an out-and-out lie.

Compare that to what pre-2012 Morrison said:

1992 GRANT MORRISON: [Arkham Asylum in 1989] was a watershed for me. […] I was still doing what I thought was expected of British writers, which was to be as much like Alan Moore as possible. It was that post-Watchmen, realistic superheroes kind of thing.[16]

1994 GRANT MORRISON: The first four issues of Animal Man were in a style that was acceptable at the time, which was along the lines of what Alan Moore was doing. I kind of figured that’s what DC wanted, so that’s what I gave them.[17]

So purple.

LEFT: Swamp Thing #21, “The Anatomy Lesson” page one, by Moore & Bissette (1984)

RIGHT: Animal Man #1, “The Human Zoo” page one, by Morrison & Truog (1988)



2012 GRANT MORRISON: I don’t believe I ever tried to get “famous” by insulting Alan Moore. It doesn’t seem the most likely route to celebrity.

Morrison has, in fact, insulted Moore numerous times over the years.

1990 GRANT MORRISON: Alan Moore’s From Hell, which owes a great, unacknowledged debt to the subtext and subject matter of Ian Sinclair’s books White Chappell, Scarlet Tracings and Lud Heat. In many ways, Moore’s work could be regarded as heavily plagiaristic.[18]

1992 GRANT MORRISON: I wish only that he could be a little less coy about his motives. […] He’s been out in the cold for long enough after bankrupting himself in a brave but misguided effort to produce comics for an imaginary nation of well-read adults. […] They don’t give a flying fuck for Big Numbers.[19]

2003 GRANT MORRISON: I’d like to see Alan Moore show his “equipment” for a special “naked” cover of Promethea. […] It would be great. And who here wouldn’t be curious to see the backside of the creator of Watchmen?[20]

2011 GRANT MORRISON: We know Alan Moore isn’t a misogynist but fuck, he’s obsessed with rape. I managed to do thirty years in comics without any rape![21]

Morrison has also discussed how using the tactic of insulting comics creators to get famous had worked for him.

1991 GRANT MORRISON: I’d remain visible. Also, I wanted to offend a lot of people. […] There’s the thing where if you irritate people enough, you start to turn up in their work. Look at the latest Marshal Law story [by Pat Mills]. I’ve worked my way into a previously healthy man’s work, like a virus.[25]

1999 GRANT MORRISON: So I started saying cruel things about everybody else in comics. No one had ever done that before and it made me famous, but it was a horrible way to get famous.[9]

2011 GRANT MORRISON: The trash talk seemed to be working, and I was rapidly making a name for myself.[24]

Regarding author Michael Moorcock writing a letter to DC in the 90s complaining that Morrison had ripped off his character Jerry Cornelius, Morrison both dismisses Moorcock’s complaint as well as claims that he wasn’t even aware of it in the 90s.

2012 GRANT MORRISON: As an important aside in this discussion, Moorcock’s spurious allegations of creative theft are based on exactly TEN pages of material in issues 17-19 of “The Invisibles”. These pages were explicitly presented as a Moorcock pastiche – or more strictly a pastiche of my own Gideon Stargrave stories from “Near Myths”, which were heavily but not entirely influenced by Moorcock and J.G Ballard – occurring in the head of the fictional character King Mob. King Mob actually talks about his obsession with Jerry Cornelius within the story and I reference Moorcock’s work as an inspiration for these pages in the letters column of issue 17.

Not content with deliberately misinterpreting a mere ten pages of my fifteen hundred page comic series, Moorcock – this “sweet, sweet man” – continues to this day to jeer and spit abuse. […]

He has so far failed to back up the casual slander with any actual evidence or examples of when he found the time to write “The Invisibles”, “St. Swithin’s Day”, “The New Adventures of Hitler”, “We3”, “The Filth”, “Kill Your Boyfriend”, “Mystery Play”, “Seaguy” or “Joe the Barbarian” to name just a few. In a 34-year career, I’ve also written long-running DC and Marvel series, plays, screenplays, video games, short stories and a book; all of which, if Michael Moorcock is to be believed, were written by him.

Morrison asserts that Moorcock is wrong to be upset because not all of The Invisibles rips him off. Morrison further supports this by listing other comics he’s written that clearly aren’t influenced by Moorcock, therefore concluding that Moorcock’s complaints amount to “slander.”

But this is dodging the point all together by repackaging it into a strawman argument so Morrison can easily dismiss it. Moorcock’s complaint is not that all of The Invisibles ripped him off (nor is it that We3 or Seaguy or whatever ripped him off). Moorcock’s complaint is that Morrison lifted actual portions of his work and used them in a few issues of The Invisibles.

LEFT: Michael Moorcock’s Jerry Cornelius, as portrayed by Jon Finch in The Final Programme (1974)

RIGHT: Morrison’s Gideon Stargrave in The Invisibles #17 (1996)

The funny thing is that Jerry Cornelius is an open source character, meaning Moorcock has allowed, and encouraged, other writers to use the character (including Alan Moore).

What Morrison did, however, went beyond this – he swiped specific portions of Moorcock’s work, which is something entirely different from simply using the character.

As Moorcock has explained, he was happy that a number of other writers had used Jerry Cornelius…

MICHAEL MOORCOCK: …yet none of them have ripped me off the way Grant Morrison has in certain issues of The Invisibles, which are virtually word for word taken from work of mine such as The Great Rock and Roll Scandal (also known as Gold Diggers of 1977) and others. He has grudgingly admitted doing an ‘homage’ but as I said, when you catch someone on the fire escape with your television in their arms and they say “great TV man — you have wonderful taste” you still shout “Stop Thief.”[22]

2012 GRANT MORRISON: (And if Moorcock made any complaints to DC in the ’90s, I never heard about them. I had no idea there was any beef with Moorcock until Pop Image’s Jonathan Ellis drew my attention to it in 2004).

Morrison claims he wasn’t even aware of Moorcock’s complaint letter until 2004, but here’s an article written in 1997 (within a year of Stargrave appearing in The Invisibles) where Morrison literally discussed Moorcock’s complaint letter to DC:

1997 INTERVIEW WITH GRANT MORRISON: In fictional terms, King Mob is based on Gideon Stargrave, a character Morrison first wrote and drew in the early ‘80s comic magazine, Near Myths, while still an aspiring comic creator. Another character he clearly owes a lot to is Michael Moorcock’s Jerry Cornelius. It’s an influence Morrison openly acknowledges in his three-part “Entropy In The UK” (easily the highlight of Volume One). However, it turns out Moorcock didn’t appreciate Morrison’s take on the character. In fact, he was so outraged he sent a letter to Vertigo, to be printed in all the company’s titles, publicly voicing his disgust. “He said my work was crass and immature and a disgrace, but, as Mark points out, Michael Moorcock branding your work crass and immature is probably a great compliment! I think he read one issue and has no concept. He’s made a fool of himself because he seems to think that the whole of The Invisibles is based on the Jerry Cornelius concept without having read the rest of what we’ve done.”[23]

2012 GRANT MORRISON: I’ll suggest that Moore’s take on “Supreme” was a lot more like my take on “Animal Man” than “Zenith” was like “Marvelman” or “Captain Britain” – The Supremacy in “Supreme” is a fairly blatant copy of the Comic Book Limbo concept I introduced in “Animal Man” seven years earlier and the Moore book’s wider meta-fictional concerns also covered territory well-trodden by “Animal Man.”

Morrison didn’t create DC’s Comic Book Limbo. DC’s Comic Book Limbo was created by Keith Giffen in Ambush Bug in 1985, three years before Morrison wrote Animal Man or even worked at DC.

Title page from Keith Giffen’s Amush Bug #3, the first appearance of DC’s Comic Book Limbo (1985)

Incidentally, Keith Giffen also worked on Supreme with Alan Moore, specifically issue #41 – the issue featuring Limbo that Morrison claims ripped him off.

2012 GRANT MORRISON: I’m afraid my view of Alan Moore has a somewhat negative bias that deepens every time he opens his mouth to preach hellfire and damnation on the comics business and its benighted labour force. […]

I find it tragic but quite pertinent to this piece that the loudest voice in our business – the one that carries the furthest and is taken most seriously by the mainstream media – is the one that offers nothing but contempt and denunciation, with barely a single good word to say about any of the many accomplished and individual writers currently working in mainstream comics, let alone the wealth of brilliant indie creators.

Does he ever, for instance, use his high media profile to do anything other than steer potential readers away from modern comic books and their creators – while over-playing his own achievements and placing himself centre stage at every turn?

While it’s true that Moore has nothing nice to say about DC or Marvel, he’s long been a proponent of indie creators. Here’s a list of cover blurbs and introductions that Moore has provided for comics over the years.

The list is too long to post in its entirety, so here are a few of them below.

On top of all that, Morrison also manages to…

Name drop the titles of twenty-four comics he’s written that weren’t mentioned in the original article – here’s an example:

2012 GRANT MORRISON: I feel Pádraig has missed out on most of the important stuff of my career. I hope he’ll try “The Invisibles”, “The Filth”, “All-Star Superman”, “We3” and “Seaguy” at least.

Explain the structure of his then recently released book Supergods:

2012 GRANT MORRISON: The structure of “Supergods” is roughly based on the Qabalistic idea of the “Lightning Flash” – the zig-zagging magician’s path from the lowest material sphere of Malkuth/the material world via the various sephiroth or spheres to the highest spiritual sphere known as Kether in this system. In the same way, the book moves from the earthy foundations of the early chapters, with their focus on physicality, to the speculations, philosophies and “higher” considerations of the concluding chapters.

And suggest that Alan Moore secretly reads his work, claiming a colleague once told him so (but of course, perhaps conveniently, he can’t reveal who).

2012 GRANT MORRISON: (I do know that Alan Moore has read a lot more of my work than he pretends to – one of his former collaborators quite innocently revealed as much to me a few years ago, confirming my own suspicions – but until Moore himself comes clean about it that will have to remain in the realm of hearsay.)

Morrison concludes:

2012 GRANT MORRISON: As I’ve said, it’s far easier to make the argument that Moore, along with powerful allies like Michael Moorcock, continues to indulge in clear, persistent, and often successful attempts to injure my reputation, for reasons of his own.

NEXT: Part 7 – Alan Moore Describes the “Persistence of Grant Morrison” and Morrison Shuts Up About Moore

SOURCES

[1] Alan Moore Chats with Harvey Pekar Statue Contributors (2011)

[2] Alan Moore Interview with Daniel Whiston (2002)

[3] Alan Moore and Superfolks Part 3: The Strange Case of Grant Morrison and Alan Moore (2012)

[4] The Strange Case of Grant Morrison and Alan Moore, As Told By Grant Morrison (2012)

[5] Grant Morrison Interview with Fusion #7 (1985)

[6] Grant Morrison Interview with Duck Fat (1999)

[7] Grant Morrison Interview with Riot #0 (1997)

[8] Grant Morrison Interview with Arkensword #23 (1987)

[9] Writers on Comics Scriptwriting (1999)

[10] Grant Morrison Interview with Strange Fruit (1990)

[11] Future Shock! The Story of 2000AD (2014)

[12] Grant Morrison’s Introduction to Animal Man Book 1 (1992)

[13] Karen Berger Interview with Sequential Tart (2001)

[14] Grant Morrison Interview with FA #109 (1989)

[15] Grant Morrison Interview with Amazing Heroes #176 (1990)

[16] Grant Morrison Interview with Comics Scene #28 (1992)

[17] Grant Morrison Interview with Hero Illustrated #9 (1994)

[18] Drivel by Grant Morrison from Speakeasy #115 (1990)

[19] Son of Drivel by Grant Morrison from Tripwire #3 (1992)

[20] Grant Morrison Interview with Amazing Comics (2003)

[21] Grant Morrison Interview with Rolling Stone (2011)

[22] Michael Moorcock’s Thoughts on Grant Morrison (2002)

[23] Grant Morrison Interview with SFX #21 (1997)

[24] Supergods by Grant Morrison (2011)

[25] Grant Morrison Interview with Speakeasy #120 (1991)

The images above are the property of their respective owners and are presented here for not-for-profit, educational purposes only, under the fair use doctrine of the copyright laws of the United States of America. The lyrics at the very top are from the song “Blame It On The Tetons” by Modest Mouse.