"Not only am I working with one of the best comics artists ever, the colouring gauntlet has been thrown down once again with the most incredible video game lighting and atmospherics. The whole thing really becomes something new with issue 3, however, which I'm unusually proud of. Apart from the fact that the potentially impenetrable central idea (HEXUS, THE LIVING CORPORATION) wound up beautifully simple, original and ridiculous all at once, that was the issue I really began to utilise J.G. Jones' preposterous genius to its best effects and decided to rethink the prevailing vogue for cinematic/money shot panel structures and page layouts. Marvel Boy's visual style becomes more like MTV and adverts; from #3 on it's filled with all kinds of new techniques; rapid cuts, strobed lenticular panels, distressed layouts, 64 panel grids, whatever. We've only started to experiment but already MARVEL BOY looks like nothing else around. Some of the stuff J. G. is doing is like an update of the whole Steranko Pop Art approach to the comics page. Instead of Orson Welles, op art and spy movies, J.G.'s using digital editing effects, percussive rhythms, cutting the action closer and harder, illuminated by the frantic glow of the image-crazed hallucination of 21st century media culture and all that. Comics don't need to be like films. They don't need to look like storyboards. This is not to dis the many great comics which have used filmic narrative techniques but I wanted to go back and explore some of the possibilities of comics as music."
-Grant Morrison on "Marvel Boy"