Grant Morrison’s Nameless #1

When a story, in any medium, is told using the “language of dreams,” that’s usually a signal for the author to take his or her hands off the narrative wheel and let the story spin completely out of control, with no reference to logic. Those stories can be extremely frustrating and almost unreadable if done without an extremely high degree of talent and a light touch. Fortunately, Grant Morrison seems like the man for the job here in issue #1 of his new series Nameless. Yes, there are references to the language of dreams and lucid dreaming, colour plays an important symbolic role and the line between reality and fantasy sometimes seems thin. But it doesn’t spin out of control as one might expect. Rather, the world created has enough richness and enough familiarity to be fascinating rather than infuriating.

[Potential Spoilers ahead - as much as there can be after one issue.]

The story (from what I’m able to discern from the first issue) seems to be set in the near future, after some sort of alien invasion involving brain parasites. And fish. Lots of fish. (I’d like to think it’s because Grant was listening to his Marillion albums while writing it.) Earth appears to be in bad trouble, with most of the survivors now in parasitic thrall to the alien forces, organized by a “Veiled Lady,” a woman with a rather grotesque brain parasite hidden by a veil.

Nameless meets the Veiled Lady in his dreams

The main character, “Nameless”, appears to be able to fight or at least challenge the authority systems but only in his dreams. He uses the information gathered in his dreams to help the human resistance. (This is all to the best of my understanding – I’ll repeat that this is a complex and multi-layered plot with a lot going on that is obscure and confusing. For example, Nameless goes on about the “Sphere of Malkuth”, a sphere of the four elements, the archangels, earth, air, fire and water. And we are shown big splashes of those four colours in the dream sequence. But no explanation. At least not yet.)

More poetic resonance is found in the rumination on the symbolic nature of the fish. Obviously associated in our culture with early Christian cults, Morrison delves into another aspect of the word, explaining that the Hebrew letter “nun” means “fish”… and “death”. So, here we have the fish motif, our hero Nameless (“nun”), “Nun” can also refer to the Veiled Lady, and it’s all something to do with death.

Fish means Death? Interesting

What exactly it has to do with death is revealed near the end, in a long “real world” sequence. Nameless has been active in his dreams, stealing a symbolic magical key from the Veiled Lady. When he comes back to the real world, he remembers how it looks in every detail, draws it, and hands it over to the authorities to be sent for 3D printing. (That’s a nice nod to modern tech.) The authorities then go into exposition mode (I, for one, was grateful for any exposition at this point, as things needed to be explained). A man, one Paul Darius, speaking through a camera attached to a drone from the far side of the moon, explains that there is an asteroid heading for earth, marked with the sign of the fish. Nameless identifies it as “The door to the anti-universe”. Darius clarifies that this “fish” really means “death” for everything on the planet. They need Nameless, who reveals that even before the world went to fish/death/hell he was an expert on the occult. (Shades of Constantine and Doctor Spektor there…) They don’t explain precisely why he is so important (other than the fact that the comic is named after him), and implore him to join a group of billionaire survivors on the dark side of the moon. (Morrison’s wit is always enjoyable. For example, Nameless asks, “Do I get any space training?” to which the response is, “Ha! You’ll get a sick bag and a pat on the head!”)

Thanks, Basil Exposition!

Morrison’s combination of visual and written language is quite remarkable, and perhaps too easy to miss. He’s using the language of comics here with a truly deft touch, dropping visual hints like the fish symbol that have multiple meanings, related to grammar and language and culture. The other visual signposts through the book, courtesy of Chris Burnham’s excellent art, incorporate motifs of kelp, vines and nets, classic hermeneutic imagery operating on a quasi-subconscious level. These people know how to use our favourite medium well, and know its power. That alone makes this a book well worth studying.

Nameless stitches together apocalyptic sci-fi, dream journeys, magic, occult symbols and Scottish wit all in one comic book. (With superb art throughout by Chris Burnham, Colours by Nathan Fairbairn and Letters by Simon Bowland.) I’m not as familiar with Grant Morrison’s work as some of my colleagues here Sequart, but I get the sneaking suspicion that my one-sentence description could apply to any number of his works and sort of sum up his style. It’s certainly the style of this comic, and I like it. I’m curious and intrigued. I know just enough to keep me interested, and there’s more than enough obscurity and arcana operating on the edges of the story to keep most readers completely in the dark about where the whole thing is headed.

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ABOUT THE AUTHOR

Independent scholar Ian Dawe has been writing for Sequart since November 2013. Before that, he had a mixed background, initially in science (Molecular Biology and Biochemistry), where he earned an MSc from Simon Fraser University and then an MA in Film from the University of Exeter in the UK. He spent a decade teaching at the college level, delivering courses in Genetics, Biochemistry, Cell Biology, Biological Anthropology and Film History. His academic work includes peer-reviewed papers on the work of Alan Moore, Harvey Pekar for Studies in Comics and a dissertation on Terry Gilliam for the University of Exeter. He has presented papers at several major academic conferences including Slayage 2014, Magus: Transdisciplinary Approaches to the Work of Alan Moore in 2010 (in the wizard's hometown of Northampton), Comics Rock and the International Conference of the Humanities in 2012, and at the Southwest Popular Culture Association Conference in Albuquerque, New Mexico in 2014 and 2015. He has contributed to several books, including a chapter about the TV show Archer in "James Bond and Popular Culture" and two chapters on Breaking Bad for "Breaking Bad and Masculinity", both now available from McFarland. At Sequart, he has authored a chapter for New Life and New Civiliations: Exploring Star Trek Comics, A Long Time Ago and two more upcoming books on Star Wars comics. He has also contributed to books on Alan Moore and 1970s Horror Comics. He is currently planning a full-length book on Better Call Saul. Ian currently lives in Vancouver, BC.

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Also by Ian Dawe:

A More Civilized Age: Exploring the Star Wars Expanded Universe

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A Galaxy Far, Far Away: Exploring Star Wars Comics

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A Long Time Ago: Exploring the Star Wars Cinematic Universe

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New Life and New Civilizations: Exploring Star Trek Comics

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3 Comments

  1. Thanks Ian!

    In a way it’s refreshing to have people not to familiar with Grant share their opinions and observations of his work. That old cliche of a fresh pair of eyes. Someone like me might be trying to push the square peg that is the text into the round hole of preconceived notions of Morrison-esque affectation.

    This is a problem that was raised by someone commenting on my Multiversity Interlude. You become so familiar with ideas like the Hypersigil and the Supercontext you presume anyone reading must be aswell. Rather than facilitating discussion of the text you end up alienating people who have a certain objectivity to contribute. Plus you run the risk of polluting the text with inference that may not be there In the first place.

    Anyway enough dithering from me. Thanks again for this. A wonderful counterpoint to the things I took away from the book.

  2. Ian Dawe says:

    Thank right back, David!

    Again, I really don’t know much about the multiverse (I have enough with one ‘verse) or any of that, but I am “versed” in symbolic storytelling, and frankly you don’t have to know much about this team to know that they really know how to make comics. There’s a confidence in the storytelling, verbally and visually, that just speaks of a master behind the wheel. Like watching a Kubrick film. You know these guys know what they’re doing. So, I’m just curious where it’s going!

    And hey, if I’m inspired to read more Morrison, there’s nothing wrong with that, either.

    Cheers

  3. From this issue alone it feels like it may top The Invisibles alone in pragmatic magical content. So you have that level of reading aswell. Just briefly looking up the components for the Bindrune Grant appears to have chosen sent me quite giddy.

    Of course read more Morrison Ian!

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