Tag Archives: Alan Moore

Who will watch the Watchmen?

So news (or a rumor?) has recently emerged that Lost and The Leftovers co-creator/show-runner, Damon Lindelof has been tapped to adapt Alan Moore & David Gibbon’s iconic comic series, Watchmen into a television show for HBO, and…I have mixed feelings…

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Look, if you’ve read just about any entry in this blog or if you’ve broken into my house and seen my graphic novel collection (yes, I said, “graphic novel” because I am a fancy man and I like fancy things), or if you’ve talked to me for more than like, five minutes about comic books, you’ll know I’m a pretty big fan of Alan Moore, and while I don’t really have any issues with movie studios adapting his work to film as long as they’re good (shit, adapt anything as long as it’s good), I don’t know if we need another Watchmen adaptation. But then again, do we need any comic adaptation?

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Yes, yes we do.     

Real talk: I like Zack Snyder’s 2009 film quite a bit. I’ve watched the 4 hour director’s cut a few times and despite some issues I have with it (notably Ozymandias’ portrayal and that sex scene that really pumps the brakes on the whole film) I feel like it’s about as good of a Watchmen adaption I ever thought we’d get.

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Oh you know, Adrian…he’s a very compl-

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But, he had a good reason for-

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Fine.

But can it be done better?

Maybe? I like most of Lindelof’s work. I loved Lost (even the ending, which I could write a 10 page dissertation about) and The Leftovers is amazing, so if anyone is going to tackle this property, he seems like the right guy to do it.

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Drink if Jack cries dies.

As long as he can bring in the more cerebral aspects of the book and refrains from boiling down the characters to their most palatable and bring forth their complexities in a mature manner, then I think it might outshine the movie.

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Me again…so…are you sure we shouldn’t explore-

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Honestly, my biggest fear is that this might be a cash grab since now the Watchmen universe is starting to bleed over into the DC comic universe (a decision that has been met with mixed emotions from the comic community at large).

But as long as Lindelof and Co. treat the material with the respect it deserves, I’m sure it’ll be great. Is it necessary? Nah. But fuck it. It might be cool.

Also, I wouldn’t be terribly upset if they left out this guy:

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Is that  your…oh, never mind. 

 

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The work of Alan Moore Part 1 FUNSIZE reviews

The fact that I love the work of Alan Moore is no secret. I talk about the guy constantly; I bought his massive tome of a novel; hell, I even ran a Top 5 list of the author’s comic work over at Bounding into Comics. However, that list didn’t really reflect my own opinion since it was polled by the other writers on the site.So I feel like this blog would be the best place to really tackle Mr. Moore’s body of work.

Let’s get to it (you know how this works: things’ll be graded on an A+ – F scale). But before we do, keep in mind that there are a few things out there by Moore I haven’t read, so if something isn’t on this list, it’s because I haven’t gotten up in its guts yet, or I’ve already touched on it on this blog before…

One last note: I am not going to grade these in any sort of order, chronologically, quantifyingly, or otherwise. Don’t look for a method to the madness; just go with it, bruh.

 

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Future Shocks (1980 – 1983)

Alan Moore spent most of his fledgling years cranking out stories for 2000 AD, particularly for one of the magazine’s flagship strips, Tharg’s Future Shocks, which are fun, short little sci-fi tales with twist endings. Honestly, they were very hit or miss, but the raw talent Moore possessed was undeniable in those little nuggets. Unfortunately, for every great (dare I say fucking brilliant) short story Moore ran, there were two or three ho-hum entries.

Final Grade: C-

 

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From Hell (1986 – 1996)

It rules. Read it. This is arguably Moore’s best work. That is all.

Final Grade: A+

 

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Spawn # 8, 32, & 37, Spawn: Blood Feud, Violator, Violator vs Badrock (1993 – 1997ish)

Image Comics was weird as shit in the ’90s. The company was producing some of the best artwork of the decade, but didn’t have a stable of great writers (sorry Jim Lee, but, no*) to elevate the material. Luckily Todd McFarlane and co. decided to hire some writers work a shit, and suddenly guys like Grant Morrison, Frank Miller, Neil Gaiman, and Moore were writing Wild C.A.T.S., The Maxx (which, in my opinion, never needed a writer to step in; that book was fucking great), and,of course Spawn (a comic that all four of the aforementioned writers took a stab at). Moore was the biggest contributor to the Image line up, writing for all these books and more. Ultimately his contribution to Spawn was very scatter-shot (as it was with all the Image titles he worked on). His Violator titles were pretty fun and issue #8 of Spawn actually introduced me to the work of Alan Moore and is a story that might be the best thing to ever come out of ’90s era Image…but the rest of it? Not so much. I’d be lying if I didn’t admit to having a huge nostalgic soft spot for these comics, but in the end, you could tell Moore enjoyed playing with someone else’s toys, but his heart wasn’t completely in it.

Finale Grade: C+ (except Spawn #8. That gets an A)

*Yes, I know Jim Lee didn’t write the scripts for the early WildC.A.T.S. comics, but they were his creation and he was credited with “story by.” Now, fuck off, nerd. 

 

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Neonomicon (2010 – 2011)

Look, I’m a sucker for Lovecraftian horror…like a big sucker for it. If I ask you what a work of fiction is like, and you say the words “Lovecraftian” or “Cthulhu-esque,” the chance of me consuming said piece of fiction significantly increases (by the way, the work of David Foster Wallace is not Lovecraftian and my English major brother is a lying asshole). Now when  you tell me that there’s an Alan Moore comic that is directly tapping into H.P. Lovecraft’s world but is eschewing and/or satirizing all the horribly racist and sexist overtones, I’m gonna read that goddamn comic. Maybe I went into Neonomicon with inflated hopes, but it didn’t hit me with the level of elation I was hoping for. It’s not bad. Hell, it’s actually a pretty easy read (if you can stomach some pretty grotesque shit which may or may not include some non-consensual fish-monster-man on girl action), but it was certainly not on par with Moore’s usually caliber. The only think that really made this even remotely worthwhile is the tight dialogue and pretty interesting characters.  I guess I should probably grade this on a curve.

Final Grade: B- (but like a 71/100 as a weighted score)

 

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Marvelman/Miracleman (1982 – 1984)

The issues Moore scripted for this series did two things: 1. it set an amazing tone for what would follow (and is still in the works) by succeeding writer Neil Gaiman, and 2. it basically acts as a dry-run for Moore’s quintessential superhero deconstruction comic, Watchmen. I feel that this is arguably one of Moore’s most important works and really displays his prowess as a writer, running the gamut of what comics can offer. From action-packed super brawls to trippy sci-fi conspiracies to introspective poetry about the sorrows of humanity, Miracleman kinda does it all. This series is rarely discussed among comic fans, but it is often imitated (just go watch Zack Snyder’s Man of Steel; it basically shares the same plot beats as Moore’s initial arc). With all that being said, there are a few drawbacks to the book: some of the pop culture references are dated, and the third act drags a bit. But ultimately this is good, good shit, you guys. Go read it.

Final score: B+

 

Okay, so that about does it for now. I’ll be back with more Moore (see what I did there?) reviews soon. In the meantime, what do you guys think. Talk shit below. Am I right about From Hell? Pfffft…of course, I am.

 

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Updates and Such

Sorry for being absent for so long. I didn’t know if I was going to stick to this thing when I first started it, and I kinda dropped the ball. In my defense, I’ve been working a few projects over the last month or so (one of them including a manuscript for a potentially ridiculous book).

Things don’t seem to be winding down anytime soon, but that doesn’t mean I can’t take a moment to praise over and bitch about comic-related news and whathaveyou.

So let’s do this bullet point style:

  • Fuck Suicide Squad. It wasn’t the garbage fire that BvS was, but it was insultingly bland and could have easily been the DC Expanded Universe’s chance to fix its bullshit.
  • Speaking of DCEU, that Wonder Woman trailer looks fucking rad.
  • JLA…not so much.
  • Brian Azzarello and Eduardo Risso are teaming up for a new comic series called Moonshine. This excites me very, very much.
  • I picked up Alan Moore’s new novel, Jerusalem. It’s heavy and could easily kill a toddler if you dropped it on said toddler’s head. I’ll be ready to get up in its guts once I finish a few other books ahead of it. The girth of this tome doesn’t really bother me too much. After all, I did read David Foster Wallace’s Infinite Jest. But don’t expect any feedback anytime soon. That fucker’ll take some time.
  • Speaking of Alan Moore. He’s retiring from comics! What? I mean, I guess that’s fine. The man doesn’t really owe us anything else.
  • So Frank Miller’s TDK3: The Master Race is running 9 issues. Great. Guess I’ll have to wait longer to buy the trade.
  • Fuck that Watchmen hardback individual issue thing DC is releasing.
  • I’m finally getting around to reading Kell Sue DeConnick and Emma Rios’ Pretty Deadly and I love it to pieces. Sometimes it’s okay to show up late to the party because the pretty girl is there waiting for you no matter what.
  • I read Alan Moore’s Crossed + 100. I dug it. Not much more than that. There were some really cool ideas but Moore does horror best when his subject matter is rooted in the occult.
  • Luke Cage is coming! Get pumped!

I think that’s about it. I’m still contributing to http://www.boundingintocomics.com from time to time but not with the same frequency I once was. 

Until next time: Kill your TV. Read comics.

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Quick Rant

I try to avoid comments sections on pop culture sites like the fucking plague. Often times there seems to be disconnect between what people read and what the writer intended to convey to their audience. This causes chaos (sometimes racist, sexist chaos), and it does nothing to change someone’s opinion, which, if we’re being frank, doesn’t matter in the grand scheme of things. Who gives a shit if an Internet blogger actually liked Batman V. Superman (I mean, they’re wrong, but whatevs)? Why would any intelligent reader get riled up by clickbait?

The answer is that…we’re human. We love the things we love and when someone is mean to those things, we often try to defend them, and sometimes taking up arms is a petty and fruitless endeavor.

I’m writing about this because I have recently fallen into the dark pit of comments. On a rather popular comic book site, I saw a thread that simply read “Alan Moore or Jack Kirby?” I chuckled at how silly this fragmented sentence was and immediately had to see what people were saying. I was actually sort of taken aback. There seemed to be no solid argument for either side. People were referencing comics by both creators and what they meant to the commenters, personally, and in some cases how much they impacted comics themselves.

I immediately wanted to write a post schooling these knuckleheads. I mean, there is a right answer here. And that answer is: Both. Moore has cited Kirby as one of his biggest influences, and both men have created important work that changed the comic landscape at different periods in time. I suppose you could say you there would be no Moore if there were no Kirby, but that’s a huge leap. Ultimately asking a question like it would be like asking, who is a better front man, James Brown or Mick Jagger? They both rule, but certainly one was influenced by the other.

But what do I know? I’m just another asshole on the Internet. I guess the moral of the story is just read more comics and don’t argue about who is the greatest creator of all time. Eventually we’ll get another Jack Kirby and another Alan Moore and another Stan Lee (j/k).

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Who’s Afraid of Alan Moore?

Me. I mean the guy does scare me a little.

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Many years ago, I picked up Moore’s magnum opus about Jack the Ripper, From Hell, with the intentions to crush it like a brittle robin’s egg with my fierce comic-consuming eyes, but unlike my experience with some of his other work, this book bit back. Hard.

Now, I’m not saying I didn’t find any of Moore’s other work challenging (shit, you need a working knowledge of turn of the century Victorian pop culture to get half the references in most of it), but they were always rather easy to navigate. But From Hell fucked my world up. It was dense, horrifying, and exhausting to read, and I don’t mean that as an insult.

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*First date.*

I chewed my way through about 150 pages of the trade until I set it down for something else (I have a bad habit of that). I had all the best intentions to finish it up, but never did.

The book was eventually lent out to a co-worker who was talking about the shitty film adaptation with Johnny Depp when I said, “hey, did you know that movie was based on a comic?” I then launched into my whole “more people should read comics and stop wasting their time with shitty TV shows and bad movies.” Johnny-Depp-in-Frederick-Abberline-From-Hell-Movie-Wallpapers

*Fuck you, you beautiful idiot.*

In retrospect, pontificating about the glory of comic books to a non-reader should have never been punctuated with handing them a copy of From Hell. It was too much comic for them. Hell, it was too much for me.

Now, about six years later, I have purchased a new copy of From Hell and I am two issues (or chapters if you fancy) away from finishing it, and let me tell you: it might be the best thing Alan Moore has ever written.

I was going to wait until I was done with the book before I wrote anything about it, but unless this comic drops the ball in it’s final act, which I know it DOES NOT, this tome is one of the greats, not just in comics, but in historical fiction.

But it’s not just Moore’s writing the elevates this comic to the stratosphere: Eddie Campbell’s art is stellar, evoking the era via Victorian style newspaper cartoons. It’s amazing and renders the Whitechaple Murders in graphic detail.

I love Alan Moore, and I want so badly for all his work to be this good. This book is a reminder as to why I was so disappointed in Providence Act 1.

 

 

 

 

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The work of Brian Azzarello Part 1 FUNSIZE REVIEWS

Even if Alan Moore would shun me for doing so, I’m finally getting around to reading some of the Before Watchmen titles, namely The Comedian and Rorschach mini-series, both of which were penned by one of my favorite writers in the graphic medium, Mr. Brian Azzarello. So I figured it’d be fun to touch on some of the books from his career that have made a lasting impression on me, good or bad. Here we go:

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Loveless (2005 – 2008)

Fuck, I loved this book. I was really bummed when DC/Vertigo pulled the plug on it. And they did it right when what started out as a western comic about assholes doing asshole things to each other was evolving into a vast, century-spanning epic about America (which would basically be a historical comic about assholes doing asshole things to each other). This comic is pretty much what Quentin Tarantino is trying to do in his movies now a days. Loveless holds up a mirror to American history’s ugly mug and makes it take a long, hard look at the horrors hiding behind its visage.

Final Grade: A-

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100 Bullets (1999 – 2009)

For ten years, Brian Azzarello and Eduardo Risso created one of the greatest crime stories ever told. This comic is staggering in its execution (pun totally intended). Every single character is well-realized. The dialogue pops with authenticity, and the stories the series tells range from insanely intimate to monstrously epic in scale. There is no stone unturned in 100 Bullets. This is one of my go-to recommendations for my friends who don’t read comics. I tell them that if this doesn’t do it for them, I’m not sure what will (maybe Preacher?).

Final Grade: fuckin’ A+

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El Diablo (2001)

This mini-series felt like a dry run for Loveless. There are certainly some cool elements in this comic, but ultimately it just feels bland. What made things worse for me, is that I read it after reading Loveless. I can only assume it would have had more of an impact on me if I had read it before. Oh, well. All’s fair in loveless and war (thank you, thank you; I’ll be here all week).

Final Grade: D+

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Batman: Broken City (2003-2004)

You know, some people shit on this comic, and I can understand why. Killer Croc is a pimp with some sort of crazy psoriasis; The Riddler is a car thief; things are not what they should be. But that’s what I dug about it. Teaming up with Risso again, Azzarello pretty much gave Detective Comics the 100 Bullets treatment and didn’t give a fuck about continuity or staying true the already established Gotham. They knew you were familar with these characters, but why not try a little something different with them?

Final Grade: B

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Wonder Woman (2011 – 2014)

Goddammit, was Azzarello’s run on this book amazing. I sometimes wake up in the middle of the night and wonder if Brian’s departure from Wonder Woman was the reason DC decided to bail on the New 52 and hit the reset button again. I mean, besides Jeff Lemire’s tenure as Animal Man writer and Scott Snyder & Capullo’s Batman, I don’t think there was another title with such a high caliber among the New 52. Azzarello took a character that the entire world was familiar with and injected her story with a brand new mythos, one that worked well in the grand scheme of the DC universe and produced a cast of great supporting characters to root for. This book is fantastic. I was never a big WW fan before this, and I don’t know if I ever will be again. Azzarello may have ruined the character for me by being too damn good at writing her.

Final Grade: A

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Bounding into Comics

Hey guys, I’ve been writing reviews for Bounding into Comics. Check them out here. Enjoy.

I’m currently reading From Hell and I wanted to know what you favorite Alan Moore comic is (and please don’t say Watchmen a bunch of times). Let me know in the comments.

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Providence Act 1: REVIEW

Note: This review covers issues 1 – 4 of Providence.

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DISCLAIMER: I am dumb and often times, Alan Moore makes me feel dumber. Now on to the review.

Like many of my fellow comic nerds, I absolutely love the work of Alan Moore. Now, I’ll be first to say that not everything he puts out is golden. But this should not detract from how brilliant the man is, nor should it lessen his importance to the graphic medium.

I’m of the opinion that we should judge an artist based on their strongest works (hence why Francis Ford Coppola is still riding that Godfather/Conversation/Apocalypse Now wave; we all saw Jack; fuck that movie). But Moore doesn’t rest on his 1980s DC laurels. If anything, Moore has grown as a writer since the days of Watchmen and Swamp Thing.

Being that he’s bit of an elusive writer, Moore belongs to an echelon of comic creators that actually make me excited when I hear announcements for new work. Guys like Brain Michael Bendis, Geoff Johns, and Scott Snyder always have several stokes in the fire at any given time, which makes them far more accessible, but that’s not to detract from their talents.

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*Best resume ever!*

That’s why when I first heard Avatar Press was going to publish another Lovecraftian horror comic scripted by Moore and drawn by my favorite horror/shock artist, Jacen Burrows, I had to physically wrestle my erection into submission.

I thoroughly enjoyed (but didn’t love) their earlier collaboration, Neonomicon, and thought it had a lot of potential to be great, but was bogged down with Moore’s own fetishism of monster sex/rape.

I pre-ordered Providence Act 1 in Hardback the day its release was announced, and I immediately cracked its spine the day it was delivered, and about halfway through the first issue, I set the book down and walked away, wondering if I would be able to produce the energy to finish it…

This was not good. I had never had that sort of experience with Alan Moore’s work.

You see, usually with Moore’s stuff, I can’t wait to see what’s next (even in the case of Promethea where things were super entertaining at first, but ended super fucking weird). But Providence initially bored me to tears. I mean, all the elements were there: a quasi-detective story about a journalist named Robert Black researching occult stories throughout New England for a “Great American Novel” he intends to write, all the while a looming horror is just behind every door. This is a really cool setup for a story, but the book just didn’t click with me early on.

I did pick Providence Act 1 back up and powered through it, trying my damnedest to be engaged, and by the end of it, I came to two realizations:

  1. I like Lovecraftain stories way more than actual Lovecraft stories. Now, this is a Moore book, but the man is using such thick Lovecraft mythos to convey it, it reads like H.P.’s greatest hits, more so than Neonomicon. I think you can create a Lovecraftian story without relying so heavily on the source material (i.e. Revival by Stephen King, John Dies at the End by David Wong, True Detective Season 1 etc.) and make is stand on its own.
  2. Alan Moore is simply not a “grab you by the collar” sort of writer any more. I doubt very much we’ll see many “a comedian was murdered in New York” openings in future work, which I have mixed feelings about.

Look, Providence is not bad, okay. Not every aspect was a chore and some of those aspects are quite remarkable: The dialogue in this book is some of Moore’s strongest in years; every conversation was well-conceived and felt real; Jacen Burrows’ art is fantastic and disturbing (the street vendor splash page gave me chills); and some of the diary entries were really entertaining and insightful.

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**Good Stuff…**

I’m not giving up on Providence. Eight issues have been released, which means Act 2 should be out soon (this is a 12 issue mini-series, by the way). This book does not tarnish Moore’s image in my eyes. There was enough here to pique my interest for future installments. I just hope they have a little less dreary pacing issues and a little more of this:

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**”Hi, I’m not in this comic.”

Is this shallow criticism? You bet your ass it is. But what can I say? I love monsters. Give me more of them, Mr. Moore.

Final Grade: C-

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Miracleman by Gaiman & Buckingham Book 1: The Golden Age REVIEW

Okay. Since this is the first review on this blog I want to get a few things out in the open about me as comic reader:

  1. I am not fan of buying single issues. It’s an expensive habit (addiction) that I have all but abandoned many years ago. However, the shelves of my book case are suffering from the number of trade paper backs that inhabit them. I make no apologies for this.
  2. I am not a superhero guy and I haven’t been since I was ten years old. That’s not to say I don’t enjoy a good story about an established character. If there is a bunch of backstory I need to consume prior to reading an arc about Batman or Supes or The X-Men, etc. that has piqued my interest, I’ll take a dive into related trades or read up on stuff on a wiki. But superhero books are not my go-to. I’m a fan of crime, sci-fi, fantasy, and alternative (whatever the hell that means) comics, and I have been since I first read Sin City in the pages of Dark Horse Comics Presents back in middle school (ah, the good ol’ days, back when Frank Miller was considered only a chauvinist and  not a xenophobic, racist, chauvinist).
  3. I seek comics out based on who wrote them. I love comic art, and I appreciate well construction sequential work, but this is not what attracts me to the medium.
  4. I am not going to post “spoilers” unless the review warrants them. If there is a potential spoiler (and I’m not talking about something that is omnipresent in pop culture like Vader being Luke’s old man) I’ll warn you. I want you to read the comics I write about here, even if I think they suck.
  5. I am not a comic scholar. If I get some stuff wrong or cross the streams of comic continuity, feel free to let me. Just don’t be a dick about it. The same goes for typos. I often have a few drinks when I write so I’m sure there will be some sentence snafus.
  6. I love Alan Moore, and I will not apologize for this either.

Now that that’s out of the way, let’s get into it:

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**

Back in the early 80s, Alan Moore tackled the all-but-dead property of Miracleman and wrote his first super hero deconstruction story. This was before Watchmen. Before Top 10. Before Alan Moore was ALAN-FUCKING-MOORE.

Moore cranked out 16 issues (three volumes) published under the now defunct Eclipse Comics, and I’m here to tell you, they were damn good. I suggest you scoop up the recently released reprints from Marvel (even if Mr. Moore had his name removed from their pages). It’s a seminal work, and the impact of his run can still be felt in comics (and Zack Snyder’s Man of Steel, which borrows heavily from Miracleman) to this day. In a way, Miracleman was a dry run for Watchmen.

Moore’s meta-revisionist take on the character was bold and exciting even if some issues suffered from tail-chasing meditations on what it means to be a superhero/god in the modern world. But after Moore’s departure, Neil Gaiman took up the reigns and guided the book in a very different direction.

It’s difficult to really consider this book the 4th volume in the Miracleman saga since the titular character is barely in in it. The Golden Age mainly deals with the world left behind after the events of Moore’s run. And honestly, it’s to the series’ benefit.

Gaiman’s run picks up a few years after Miracleman’s battle with his adversary, Johnny Bates (AKA Kid Miracleman) in London, which left the city demolished and thousands dead. Instead of following the exploits of our hero, Gaiman and Buckingham peak into the day-to-day existence of several characters living in or around London after the fallout. These stories are told with a wonderful lyrical quality and are punctuated with ever-changing visuals thanks to Buckingham’s incredibly versatile artwork.

Gaiman and Buckingham’s collaboration is amazingly fluid and organic. This seems to be a personal book. All the introspective tangents Moore traveled never felt humanized since they were essentially from the point of view of a god. What Gaiman does so earnestly and with such elegance grants the reader some of those same viewpoints from the human perspective, making the unfathomable idea of living among superheros grounded in reality.

Gaiman essentially took a meta-narrative and turned it into a story about faith, loss, love, and hope. That’s no small feat.

Now, I won’t say that I enjoyed this book more than the previous ones. Honestly, their respective tones are so different, they almost feel disconnected (I say, almost). Gaiman wanders the world Moore created with a childlike wonderment that few writers are brave enough to embrace so willingly. There’s something beautiful about that. Where Moore propagated deconstruction, Gaiman tried to build something wondrous and ethereal. There’s amazing heart to this book.

Gaiman and Buckingham are far from finished. When they took over as the creative team on the series, they had planned three six-issue story arcs. Unfortunately, Eclipse went out of business two issues into their second volume, The Silver Age. Luckily, Marvel is releasing the “lost issues” of Miracleman and is giving Gaiman and Buckingham the green light to finish what they originally started nearly twenty years ago.

But enough praise…

Now what I’m about to write is really based on my own personal bias (what review isn’t?). But you know how I mentioned I seek out comics based on who wrote them? Yeah, well Neil Gaiman was not always one of those writers and he still doesn’t have me nosediving for books the day of release.

My relationship with Gaiman’s work has been up and down: I never got into Sandman (yes, I know, I suck); I thought American Gods was basically a bunch of great ideas jammed into a lackluster novel; and I was left underwhelmed by his Whatever Happened to the Caped Crusader? Batman story. That being said, when Gaiman is firing on all cylinders (like he is in The Golden Age), it’s impossible to deny his brilliance.

I am extremely interested in seeing how it will play out. Both Mr. Gaiman and Mr. Buckingham have evolved as artists over the last 20 years and I can’t wait to see how their respective growths will influence how they move forward.

I highly recommend reading The Golden Age along with the books that came before it. The transition from Moore’s work to that of Gaiman’s is surprisingly digestible and quite rewarding.

Final Grade: B+

**Image from previewsworld.com

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New Direction

Like Stain’d so famously put it, “It’s been awhile.” (thank you, Scott Aukerman for the joke that keeps on giving).

I feel like this blog has been dormant for far too long so I’m going to use it for something I love to do but don’t do often enough: talk about comic books.

That’s right. Comics. Graphic novels. Funny books. That thing you read on your iPad because you hate paper or you’re running out of room for long boxes. You know the things.

I’m going to start this off this week (in the next post) with a review of Neil Gaiman’s Miracleman The Golden Age TBP. And yes, I will talk about Alan Moore in that post. And yes, I’ll get into why I don’t really like super heroes. And yes, I’ll discuss my strenuous relationship with Mr. Gaiman’s work. And yes, I will assign it some sort of letter score because the Internet seems to crave that sort of thing.

So after a bit of a face lift and a some push on the Twitter, I think this’ll be something that sticks…

Or not. Who knows?

 

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