The first quote is taken from The Bomb, the "unofficial official" web site for THE INVISIBLES:

"o [page 20] [panel 1] Anyone got the inside scoop on the Millennium Dome for us yanks? (and how the words "fiction suit" might apply?) [TW] SPOILER ON FICTION SUIT: According to Grant in the salisbury book, a 'fiction suit' is how he (Grant) plans on changing places with King Mob in the Invisibles. Literally. He describes it as "a technology". GM goes into the comic, KM comes out into our world. [Devil Music USA] � I think the reference to "Fiction Suit" reflects Helga's attempts to decode the meta-language and is probably a reference to one of the discussions between King Mob and Cell 23. [TEC]"

Interesting parallels with what Joseph (and possibly the original author or authors) has done with the Incunabula material. Fact and fiction are combined in creating a character (or an entire hypernarrative), who is then projected out into the physical world via method acting, magick, memetics etc. If everything goes correctly, the character manifests as a "real" person (or the hypernarrative begins to manifest/write itself onto the physical plane/consensus reality).

This next quote is taken from http://www.grantmorrison.com; it is a letter written by a fan, who has had a series of dreams regarding Grant. The first dream, interestingly enough, involved ingesting a white powder, shades of ORMES, there. Here is the second dream:

"The second dream happened in November. Before going to bed I had been browsing through your web site. In the dream I was first shown what I would best describe as your "astral imagination". This is where all your creations are stored. The interesting thing about it was not only did you access it, but it was where all your fans went if they wanted to interact with your creations. I didn't go in there myself, but saw it from a distance. Then I was shown you. I was shown you as you started, and what you have made yourself into. Now, that's a neat trick Grant, if this is indeed what happened. It was like you had an idea of what you wanted to become (famous, successful, etc.), and you swapped yourself into this ideal self. So, basically, your old self was no longer your true self. This is a bit difficult to explain, but I know what I mean. The thing I'm getting at here is that your "old" self is now the cartoon, and your new self is the real one. It seems like a good magical self-defence trick as well. If anyone tracked back to you, they would think they were getting to the essence of Grant, but now it is the cartoon "you". It was indicated to me that this was highly unusual. Most people only wear fictionsuits, you have become yours. Or at least that's what I was shown."

Here is Grant�s reply:

"Fascinating. Your second dream's analysis of my preferred method for slithering through the mediasphere is spot on. Welcome to my head."

Here is a quote from the same page, Grant�s reply to another letter; in it, he testifies to the autobiographical nature of the comic. This mirrors JM�s method of actually interviewing the characters/people involved with Incunabula, and also his method of creating a comic of events that have transpired around him. This sort of process may help to "ground" the hypernarrative.

"THE INVISIBLES has an indecently high percentage of diary detail woven through its sci-fi spypunk storyline...which may or may not make it post-modern in approach. I'm not sure. I prefer to see it simply as my record of my passage through the years 1994-2000 processed down onto paper in the service of the relentless monthly deadlines of my chosen format: so when King Mob's at a wayang show in Jogjakarta talking to a cool operator called Agus it's because I've just been at a wayang show with an operator called Agus. When Jack and Fanny are visiting the Power Exchange in San Francisco, it's because I've just been there. When the Invisibles are struggling against crawling insectile infection from the Outer Church, I'm dying in hospital with septicaemia, clutching a pen. The magical rituals to summon John Lennon and the scorpion loa are from my diaries just like the tantric sex and the trip on the mesa and the changing styles of clothes etc. The martial arts styles, yoga positions and meditation methods were based on whatever I was doing at the time. The descriptions of 'alien abductions' are from experience. People I met became characters or fused into characters after I met them or vice versa. When the third volume gets heavy with text and theory it's because I'm celibate and buried in books, waiting for the goddamn eclipse and the year and the gestation process to end. Only the large scale acts of terrorism in THE INVISIBLES are fictionalised, the rest is memory and story and spell. Oooh sounds almost Gaimanesque doesn't it ? I shall my next book of faerie poems 'Memorye, Storye and Spelle' . Post modern, Post-now, post-ism...
It's an experimental miniature universe, a holographic alembic containing the mad experiments in magic, sickness, drug abuse, genderflexing hedonism, martial arts and travel of the 90s. I don't think it fits completely into any current categories but there are as many ways to read the story as there are readers, Risa. At its root THE INVISIBLES is a highly-charged dynamic sigil. The first of its kind to be tested, THE INVISIBLES is to the sigil concept what the Manhattan Experiment was to the bullet and unless deactivated it will expand and destroy consensus reality."

Well, that about covers that. I see Metheny�s work, and the Incunabula in general, in somewhat the same light. In passing, this sigil system is a mainstay of chaos magick.

The following quote mentions Grant�s current writing style, which dovetails into the Incunabula�s current structure as a catalog and series of interviews.

"What you're seeing in my work currently is an attempt to assemble and play with a 'non-literary' democratic prose form based on mutated ad jingles, e-mail styles, net porn stories, corporate speak, electronic equipment manuals etc. 'Literary' prose (the type of writing Dennis Potter scathingly summed up as 'descriptions of the sky') would contaminate my intent I think."

This is also from a letter written by a fan; it, along with Grant�s reply, illustrate the same strangeness people seem to get around the Incunabula.

"was taping one of the panels (DeAnne Dewitt, Jackie Estrada, Greg Beetam & Michael Cohen) and started to ask the question, "Grant Morrison claims that our fictions are becoming our realities. Do you think he's on to something or simply, as Warren Ellis reminds us, that Grant is on drugs?".

My batteries began to die just as I began to ask the question and as they wound down, all it got (sounding not unlike Alvin Chipmunk) was "GrantMorrisonclaimsthat". Soon, I changed the batteries and realized that they had ALL died. Every last stinking one of them. They'd all been charged for the event, and were all working before that. Interesting...I can't seem to remember exactly what the pros said in reply to the question I asked them.

Curiouser every second, yes?"

Grant�s reply:

"Probably more than a third of all interviews people have taped with me, never come out. And the truth is that I'm NOT on drugs an awful lot more of the time than I AM on drugs. Or is it?
Not ALL of our fictions are becoming realities, only those memetically-engineered to do so by experts like myself and Snoop Dogg."

The following quote by Grant reinforces the idea of a conscious switch in identities, and then goes on to connect the "fiction suit" with games:

"Ahh, Morrissey. Everyone knows me as the 21st century's sexadelic hell god of narcotic comics (errr.. don't they ?...) and very few now remember the days when I was posing as the medium's wilting, hypochondriac teetotaller, practically wed, fainting during interviews, hanging on a chicken wire cross in the NME, half-naked but for a loincloth, a leather jacket and Kylie stickers all over my flayed white ribs. "Can I just say Grant Morrison is a wanker ?" wrote one cruel reader. Worse, the editorial reply was "If you like."
Ah, those fiction suits (that's the new buzz word among all the young folk, isn't it ? Fiction suits. You have to keep up in this game...)"

Finally, in Grant Morrison�s "Magick for Mutants" column on his web site, he professes to delve into the experimentation behind the writing of THE INVISIBLES. So far, he has explained the basics of magick, especially sigil magick; there are, however, a few tantalizing clues as to future columns:

My notebooks are filled with two basic ideas, "Materializing the Fantastic", and a role-playing game whose basic premise was that reality isn�t physical, or metaphysical, but metafictional. While I had plenty of detail on how to structure the game, I was mostly lost about how to materialize the fantastic in my life, and the lives of those around me; I hadn�t made the connection that these two ideas could be one. J

I look forward to seeing how things develop�