Miracleman # 1

Writer: Alan Moore
Artist: Gary Leach
Publisher: Warrior, Eclipse
Published: March 1982, August 1985

M is for Marvelma-eh what's that Marvel? You want me to say it's called Miracleman or you're sending in the Avengers to 'fix' things. Well ok...

Probably one of the best series to hit the comic scene that you'll never read. My little speech above about Marvel is just the tip of the iceberg as to what is plaguing the re-release of this great series. Miracleman is tied up in so much legal mumbo jumbo over the title, content, and ownership that it will be a cold day in hell before us little folk will ever be given the chance to purchase this comic. Which is a shame, because this series needs to be read by any serious comic fan.

Miracleman issue one is broken into four chapters. The first chapter is written/drawn as if it were straight out of the 50s sci-fi comics. It involves the Miracle Family having to travel through time to 1981 to stop the Science Gestapo from controlling the Earth. The Science Gestapo had traveled back to the 50s to overrun Earth with their superior weapons, but were unprepared to deal with Miracleman and Co.

The second chapter we are introduced to Michael Moran, a freelance journalist, and his wife. Michael suffers from migraines and nightmares of flying and then being burned by a horrible explosion. Later, while at a job, he is taken hostage by terrorists. His migraine worsens, and he feels he is being forced to remember something. That something just so happens to be the magic word to summon Miracleman: "Kimota" (Atomic backwards). Once spoken, the word transforms him into Miracleman, whereupon he burns and destroys his captors. He leaps to the air, exclaiming he is back!

Finally the third and fourth chapter has Miracleman explaining to his wife that he is indeed Michael Moran. After some awkward explanations, she begins to accept the truth. The issue ends with Michael being contacted by an old friend, Johnny Bates (Kid Miracle of the Miracleman Family), who is not as he appears to be. By this I mean, he's a raving lunatic corrupt with power. The issue ends with Kid Miracle about to show Miracleman what 27 years of unchecked power can really do to a person.

OK, so I've set the stage, and your probably sitting on the edge of your seat in excitement. If not, blame me, not Miracleman. This story deserves your attention, because if those sharks in suits keep about their business, the world will never get the chance to see Miracleman in action. Normally I don't advocate torrents, on the grounds that it is stealing (and it is, and we all do it to one degree or another so lets not delude ourselves and call it what it is - stealing) but this series deserves to be stolen, 'cause otherwise you'll never get the chance to read it. Once you're done head out and buy Swamp Thing or Watchmen to alleviate your guilt.





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V for Vendetta # 1

Writer: Alan Moore
Artist: David Lloyd
Colorist: David Lloyd, Siobhan Dodd
Publisher: Warrior, DC
Published: 1982

"Remember remember the 5th of November..."

Today being November 5th, I couldn't resist including V for Vendetta to my 365 run. Alan Moore's tale of a totalitarian controlled Britain being undermined by the terrorist "V" is as potent today as it was over 20 years ago.

Issue 1 introduces us to V, the Guy Fawkes masked terrorist, as he rescues 16 year old Evey Hammond from Britain's Fingermen (basically cops). He then proceeds to take her to a nearby building, and to her shock and amazement, he blows up the Parliament buildings. The remainder of the issue has the powers in charge trying to figure out and capture V. During this time V captures Lewis Prothero, the Voice of Fate, and interns him in a mock concentration camp. The issue ends with Lewis returned to the cops, painted as a doll, and completely mad.

Admittedly I watched the film adaptation before I read the V for Vendetta graphic novel. Inevitably, because of this, I am unconsciously inclined to compare the two works, much to Alan Moores chagrin. Moore opposed the filming of V for Vendetta, as he is want to do. He makes a valid point though: his comic book works are just that, comic books. Not films. In this regard I completely understand his reasoning. The comic version of V for Vendetta is more indepth, has more characters to interact with and is able to express more ideas.

That being said, the film version is not lacking in one bit. The film sticks true to the original vision of Moore, even if it is missing some elements. V still dies, and Evey, although in a different method still follows through on his mission to liberate the people of Britain. On this basis, I would argue that both the comic and film are of equal merit. The only element that gives the film a slight edge was the blaring of the 1812 overture during the final act. It doesn't get much better than hearing the power and majesty of the 1812 overture as the old, corrupt, controlled totalitarian world is blown to bits.