indefatigable work ethic and bottomless billions, his new Bat-capitalists should be light-years away from the corporate egotists heavily stroked in films like Iron Man 2, whose Tony Stark is a self-obsessed screw-up compared to Bruce Wayne's solemn justice-seeker.

But you get what you pay for, said Morrison, whose Batman, Inc. debuts Nov. 17. "It's a natural development, and just shows what we're into nowadays," he said. "Playboys who can do anything they want."

Morrison's storied run on comics' timeless human superhero has dragged Batman through the apocalyptic depths of space and time. He killed and rebooted him in Batman R.I.P. and Final Crisis. In Batman: The Return of Bruce Wayne, he tasked the Dark Knight with Herculean challenges usually reserved for immortals like Superman.

Along the way, Morrison has added to a stacked back catalog of stunning work, including Animal Man, Doom Patrol, The Invisibles, The Filth and Seaguy. The comics have made Morrison a hot commodity in Hollywood, with strange films like We3, Joe the Barbarian and Sinatoro in development, and other projects on the way: All-Star Superman, the first animated feature based on Morrison's brilliant comics, arrives next winter. Patrick Meaney's Grant Morrison: Talking With Gods, the first documentary to study the legendary storyteller, premiered at New York Comic-Con.

Batman, Inc., inspired by the surreal cartoon Batman: The Brave and the Bold and the transformative videogame Batman: Arkham Asylum (which itself was partially inspired by Morrison's 1989 horror comic Arkham Asylum: A Serious House on Serious Earth), blazes equally compelling trails.

Wired.com picks Morrison's boundary-busting brain on corporate personhood, superheroic psychology, social networking, cartoon hypocrisy and more in the Batman, Inc. gallery above.

Grant Morrison photo courtesy Patrick Meaney

Authors: Scott Thill

to know more click here