Wednesday, 31 December 2025

Cessations Of Publication

The Fawcett Comics Captain Marvel
The Mick Anglo Marvelman
The Alan Moore Marvelman
The Alan Moore/Neil Gaiman Miracleman

- all ceased publication.

Marvel Comics republished Miracleman, although with a long interruption, and now will not complete it.

Miracleman is the Alan Moore Marvelman renamed. 

The Mick Anglo Marvelman was a virtual reality experienced by Miracleman.

The Fawcett Comics Captain Marvel was the inspiration for the virtual reality.

Friday, 7 June 2024

From Samson To Moran

This is a linear sequence:

Samson and Hercules (the Biblical and Classical strongmen)
Philip Wylie's Gladiator
Superman
Fawcett Comics' Captain Marvel
Mick Anglo's Marvelman
Alan Moore's Marvelman/Miracleman

There are other superheroes and other Captain Marvels but this is the main line of descent. I hope to read the most recent instalment, Miraceleman: The Silver Age by Neil Gaiman and Mark Buckingham, next week.

Saturday, 13 March 2021

Secrecy And A Friend Called Pete

There Will Be Time.

Jack Havig, time traveler, to Robert Anderson:

"'Uncle Jack was the ideal guide and mentor. I'd no reason to disobey his commands about secrecy, aside from some disguised bragging to my friend Pete.' (p. 39)

Clark Kent's friend, Pete Ross, accidentally discovers his secret.

"'...the necessity of keeping our secret...'" (p. 40) is a strong parallel between the biographies of those two great Americans, Clark Kent and Jack Havig. Kent inspires the Legion of Super-Heroes in the thirtieth century. Havig builds the Star Masters civilization in later centuries.

Despite their powers, Kent and Havig keep the secret because its necessity is impressed on them by their mentors, Jonathan Kent and Uncle Jack, respectively. The Smallville TV series emphasizes the deceit and duplicity involved in the secrecy which leads to a permanent conflict between Clark Kent and his former friend, Lex Luthor. Clark could have had a small team of friends, including Pete and Lex, working with him - a much better arrangement.

The Structure Of Two Series: The Sandman And Lucifer

 
Neil Gaiman's monthly comic book, The Sandman, was collected in ten volumes: three trilogies and an epilogue. Each trilogy is one male point of view narrative, one female pov narrative and one short story collection. The epilogue contains the "Wake" trilogy, its sequel and sequels to the earlier Marco Polo and William Shakespeare stories. There are related volumes, like Sandman: The Dream Hunters, an illustrated prose story, but the collected monthly series is complete in ten volumes. However, an eleventh Sandman comic book collection is P. Craig Russell's graphic adaptation of The Dream Hunters.
 
 Mike Carey's Lucifer, a direct sequel to Season of Mists in Gaiman's The Sandman, is collected in eleven volumes, differently structured. The middle volume, 6 The Mansions of the Silence, is the turning point when it is learned that God has left his creation. That turning point divides the rest of the series into two groups of five volumes. Each of these groups has a mid-point. In Volume 3, A Dalliance with the Damned, Lucifer opens gates between his new creation and every part of God's old creation. Lucifer welcomes immigrants but forbids them to worship him or anyone else. Carey's Lucifer, unlike Milton's Satan, wants not Godhood but freedom from either side of the God trip. A Satanic role as Lord of Hell is in his past but had accreted around him and he had left it in The Sandman.
 
In Volume 9, Crux, Michael's daughter/God's grand-daughter, Elaine Belloc, creates a third universe. This prepares her to succeed the departed God at the end of the series. Thus, the three turning points of Lucifer are: 

Lucifer liberates; 
his father leaves; 
his niece learns. 

By the end of The Sandman, the title character has entered the realm of his sister, Death, and we do not see him again. By the end of Lucifer, the title character has entered the Void between the worlds and we do not see him again.

These twenty two volumes should be read together with related works by both authors plus Swamp Thing and Hellblazer. John Constantine spun out of Swamp Thing into Hellblazer just as Lucifer spun out of The Sandman into Lucifer. Part of the Dreaming appeared in Swamp Thing before we saw more in The Sandman. Such multi-authored bodies of work are necessarily variable in quality but the particular works summarized here present continents of quality in an ocean of quantity.
 
 Addendum (14 Nov 2010): A damned soul becomes a Duke of Hell in Lucifer Vol 3 and Lord of Hell in Vol 9 and empties Hell in Vol 10. In Vol 11, a fallen cherub says of the angel Remiel, "Former Lord of Hell - - which is something any schmendrick can add to his resume these days." (1) So how many Lords of Hell have there been?
 
It became necessary to distinguish between Satan in Hellblazer and Lucifer in The Sandman. Each must rule his own Hell or Hellish realm. This is possible because, in this scenario, the hereafter is whatever it is imagined to be. At one stage, Lucifer co-ruled with Beelzebub and Azazel. Later, Lucifer gave the Key to Hell to Morpheus who passed it on to the angels Remiel and Duma. Later again, Duma gave it to Christopher Rudd. After Rudd had emptied Hell, one last human soul gained access to the place, thus becoming sole ruler of an otherwise empty realm: a farce following the tragedy. Elaine's new universe has no Hell but Hell still exists later in Andy Diggle's Hellblazer so the universe has split again. This happens in comics as story lines converge and diverge. However, unless it is stated otherwise, Satan continues to rule the Hellblazer Hell. Thus, there have been nine "Lords of Hell":
 
 
Satan
Lucifer
Beelzebub
Azazel
Morpheus
Remiel
Duma
Christopher Rudd
Culver Harland


(Insert, 30 Aug 2012: Satan had two co-rulers in Garth Ennis' Hellblazer so maybe the total number is eleven?)
 
15 Nov 2010: Since the first addendum, email correspondence with Mike Carey has disclosed that Garth Ennis writing Hellblazer called his Lord of Hell "the First of the Fallen" in order to keep alive the possibility that Hellblazer and The Sandman co-existed. They do co-exist somehow but it is clear that their two Lords of Hell diverged. Ennis' "First" remains a malevolent demon whereas Carey's Lucifer becomes an indifferent Nietzchean. The First actively hates Constantine. Lucifer abandons his hate for Morpheus, realising that all that really matters to him is the freedom of his own will. He casually destroys beings who stand in his way but no longer seeks to destroy a former opponent. His role in the "God and Devil" double act has tired him and become clearly pointless whereas Ennis' First remains consumed by hatred both of the divine and of the independent operator, John Constantine. 

(1) Carey, Mike, Lucifer: Evensong, New York, 2007, p. 92. 

Saturday, 2 January 2021

A New Genre?

Nick Hayes, The Book Of Trespass (London, 2020).

Is this a new genre: a partly autobiographical, partly historical, documentary prose text, interspersed with illustrations, written and drawn by an author, illustrator and political cartoonist, partly covering the period when he was creating a graphic novel? Usually, I would be reading the graphic novel. This time, I am reading a prose account of its creation. Next, the book could be filmed, showing the author drawing pages of the graphic novel.

A story can be narrated, enacted or depicted. Thus, the three story-telling media are narrative, drama and sequential art, which can be creatively combined. Once, in a school where I worked, a drama group showed and discussed an animated film and, on a later visit, enacted a sequel, playing the parts of the screen characters. We need

more multi-media creativity to which Nick Hayes could contribute.

Tuesday, 10 November 2020

A Complicated Comics History II

Early issues of JLA downplayed Supes and Bats because both of these characters had so much coverage elsewhere. Nevertheless, Supes appeared every month in seven titles and could appear, even if briefly, in an eighth. But only one of those titles was about him as an adult and only about him as an adult all the way through. Thus, it was statistically unusual to find yourself reading a comic that focused solely on Superman.

Before and during the Crisis on Infinite Earths in the mid- to late 80s, Superman and Superman in Action Comics were solo Superman titles and DC Comics Presents was a regular Superman team-up title whereas, after the Crisis, Superman (first series), now called Adventures Of Superman, and Superman (second series), simply called Superman, were solo Superman titles whereas Superman in Action Comics had become the regular team-up title and, a few years later, became a thick weekly anthology for nearly a year. 

For a while, when Action was monthly and neither a team-up book nor an anthology, a fourth monthly title and a quarterly were added to transform four monthlies and one quarterly into one weekly with continuous narrative although by different creative teams and the quality went into the Phantom Zone. Things have changed and changed again and I have no idea what is happening now. Alienate old readers as long as you can attract new younger readers if you can.

Saturday, 31 October 2020

What's Been Done With Watchmen

A prequel comic series.
A crossover comic series.
A feature film adaptation.
A TV series sequel.

The TV series brilliantly answers the question: "Who was Hooded Justice?"

Sunday, 5 July 2020

Powers Unknown

Copied from Poul Anderson Appreciation:

The deal with the blog is that a single word or phrase in a work by Poul Anderson can generate either a reflection or a comparison with a similar word or phrase in a work by another author. We can move in any direction although we always return to our source. And here is one mysterious phrase:

"The Taverners are as merciful as their charter, or whatever it is that was once granted them by some power unknown, allows them to be."
-Poul Anderson, "Losers' Night" IN Anderson, All One Universe (New York, 1997), pp. 105-123 AT p. 108.

There could be a story about an inn-keeping couple at some place or time, the punchline being that, right at the end of the story, they are appointed as keepers of the Old Phoenix - but that alone would not be enough to tell us who the power unknown is. Once appointed, do the Taverners remain in the Old Phoenix or do they, like their guests, continue to lead lives in one of the universes? The inn is outside all particular cosmic times so they could always return to it at the moment they had left.

"...there are some powers that no one, not even the Endless, seeks to inquire into too deeply."
-Neil Gaiman, The Sandman: The Wake (New York, 1997), p. 17, panel 4.

Why not? The Endless are anthropomorphic personifications of aspects of consciousness and include Destiny, who knows all that was, is and will be, although Delirium that was Delight claims:

"...I know lots of things about us. Things not even he knows."
-Neil Gaiman, The Sandman: Season Of Mists (New York, 1992), p. 29, panel 6.

- pointing at Destiny.

That might be a koan: What does Delirium know that Destiny does not?

And does she know the powers unknown?

Saturday, 4 July 2020

The Watchmen TV Series

OK. Far out. I didn't think I'd say this but: Far out.

The attached image shows us the Hooded Justice of the TV series within the TV series: one totally different guy. (He looks exactly the same because of the costume.) The Awesome Mage's Watchmen had a comic within the comic so the TV sequel has a TV series within the TV series.

I watched Episode 1 last year with Ketlan and did not get into it yet. It takes some getting into. How does it connect with AM's original masterpiece? That takes time to transpire. For Father's Day this year, Aileen gave me the DVD set. Obviously, I was going to watch it and I also needed to read about the series to try to understand what these guys are doing. The actors speak very fast in very pronounced accents and make obscure references. Like a child watching a film, I have to accept that I do not understand a lot (yet).

So far, I have watched the first 6 of 9 episodes. A lot is still difficult, especially Veidt's strange predicament. The horseshoe theme seems particularly incoherent but it was repeated so maybe its meaning will become clear. I understand that everything does eventually tie together. Episode 5 brilliantly shows how one of the new characters survived the New York event. The Watchtower was appropriate both because it was in AM's series and because Watchtower fits with Watchmen.

Episode 6 is riveting. The newly created origin story for the previously unidentified Hooded Justice:

is as good as AM's Joker origin story (see also here);
explains the noose around the neck;
explains that, even under the hood, HJ needs a painted eye mask as camouflage. (Watch it. Episode 6.)

Captain Metropolis looks good. The other Minutemen are indistinct because we are seeing them through HJ's memories.

In an earlier episode, a newsboy was announcing that the aliens were a hoax just before HJ's first appearance which is chronologically wrong but I think that that was because someone was remembering first the later event, then the earlier event.

Dave Gibbons said that Damon Lindelof would do it right and it looks like Dave was right. I still have three episodes to watch and maybe the whole series to rewatch.

Masked policemen seem bizarre, then make sense as a role reversal.

Wednesday, 25 December 2019

Other Reading About Telepathy

We saw here that a telepath who can read only surface thoughts talks to a prisoner in order to bring associations into his conscious mind.

Thus, we read, in a book received as a present today:

D'jinn, disguised as a slave girl: Gather all who serve Yussuf's ascendancy together tonight for an important meeting.

Sidi Nouman: Is that wise? In the past we've never congregated more than two or three at a time. Those were always Yusuf's orders.

D'jinn: No Matter. I simply needed to ascertain the fullness of the list which appeared in your mind the moment I inquired of them.
I've captured it complete, and so you are of no further use to me, Sidi Nouman, famous abuser of horses.
-Bill Willingham, Fables: Arabian Nights (And Days), (Burbank, CA, 2006), p. 59, panels 5-6.

Tuesday, 10 December 2019

A Fictional Language II

See A Fictional Language.

I know that some people are elaborating Klingon (see image) so maybe they are way ahead of us here. Let me just try to demonstrate some more of Alan Moore's ingenuity.

p. 14, panel 4
Alanna: D-duss maol olt? Fao Adam AEL? (How is he? Will Adam be well?)

Sardath: Sa. Adam fao ael. Qu dral ol VIER, tertel bu. (Yes. Adam will be well. You can see him...)

p. 14, panel 5
Alanna: Iu, Sardath-cho, Ba ONAMAO qu! (Oh, Sardath. I love you!)
Sardath: Ba onamao QU emsec, Alanna. (I love you too, Alanna.)

p. 15, panel 1
Alanna: ADAM! Iu, onamaol bu... (Adam! Oh, love they...)

p. 15, panel 3
Alanna: Qu fao zon ililoc huls CHECHEDOR Rann, di tomta ILIOCTIBANI. Olf fao doh rette RANN leps THANAGAR. (You will be able to talk to the new Ambassadors to Rann, during the Conference/negotiations. They will (or have?) come to Rann from Thanagar.)

p. 15, panel 4 
Adam Strange: THANAGAR? THOM KATAR HOL? (Thanagar? Not Katar Hol?)

Alanna: Tho. Thom KATAR HOL ool SHAYERA. Olf fao HAKKESTRANG! (No. Not Katar Hol or Shayera. They are (will be?) Hawkpeople!)

p. 16, panel 1
Keela Roo: Ael, Sardath-chat. Ol wa ililoc THANAGARRU wo? <... (It is well, Sardath. Should we speak Thanagarru?) (Her Thanagarru is represented by < and by similar signs which are not on my keyboard.)

p. 16, panel 2
Sardath: ADAM-CHI! Ol fa aeli qu fao ael! Olf fao KEELA ROO ep SCIRA EK, checheder leps THANAGAR... (Adam! It is good that you are well! These are Keela Roo and Scira Ek, ambassadors from Thanagar...)
Keela Roo: < etc.

p. 16, panel 3
Keela Roo: ...absorbacon-linked translator should simplify the discussions.
(She holds a glowing pyramid which emits the sound "Veep" as it makes everyone present understand everyone else's speech.)

p. 17, panels 5-6
Adam Strange, speaking while running beyond the range of the absorbascon: Yes, yes. It's okay. I know... "It's a dirty job... (VEEP!) ...claab APOCHAN masraut fao ol!" (Give it to the ape man.) (Or something like that.)

p. 28, panel 2
Adam Strange: Lam TALSA, Keela Roo. Qu glispi SARN. (Good morning, Keela Roo. You look "sarn.")
Keela Roo: Lam Talsa, Adam Strange. Bas Hakkestrange ETHMET glispi sarn. (Good morning, Adam Strange. But Hawkpeople always look "sarn.")

p. 28, panel 3
Keela Roo: Ba murrn ililocta-unulacon bu... (VEEP)... so that we may talk more easily.

p. 34, panel 3
Alanna: ADAM? Voryegger ilioc INGLISH? (Adam? The monster speaks English?)
Adam Strange: Uh, tra. Ol utu "SMALSH-YEGGER," aps URTH. (Uh, yes. He was "Swamp Thing" on Earth.

p. 35, panel 6
Alanna: ADAM? Duss ililoc qu ap Smalsh-Yegger? (Adam? What are you talking about with Swamp Thing?)

p. 36, panel 1
Adam Strange: Ep URTH, epo GOTHAMAGAR, Smalsh-Yegger faor lurshastrang. Fao ol lurshastrang ep RANN? (On Earth, in Gotham City, Swamp Thing made vegetation. Will he make vegetation on Rann?)

p. 36, panel 2 
Alanna: Mamoon. Iu, Smalsh-Yegger, MAMOON. (Please. Oh, Swamp Thing, please.)

I am starting to decipher more but enough is enough. One sentence of Planha in Poul Anderson's "Lodestar" has made me revisit and re-appreciate Alan Moore's Rannian dialogue.

Sunday, 20 October 2019

The Structure Of A Series: The Boys (90 Monthly Issues)

I: The Name Of The Game (1-6)

II: Get Some ("Get Some," 7-10; "Glorious Five Year Plan," 11-14)

III: Good For The Soul ("Good For The Soul," 15-18; "I Tell You No Lie, G.I.," 19-22)

IV: We Gotta Go Now (23-30)

V: Herogasm (miniseries, 1-6)

VI: The Self-Preservation Society ("The Self-Preservation Society," 31-34; "Nothing Like It In The World," 35-36, "La Plume De Ma Tante Est Sur La Table," 37; "The Instant White-Hot Wild," 38)

VII: "What I Know," 39; "The Innocents," 40-43; "Believe," 44-47)

VIII: Highland Laddie (miniseries, 1-6)

IX: The Big Ride ("Proper Preparation And Planning," 48-51; "Barbary Coast," 52-55; "The Big Ride," 56-59)

X: Butcher, Baker, Candlestickmaker (miniseries, 1-6)

XI: Over The Hill With The Swords Of A Thousand Men (60-65)

XII: The Bloody Doors Off ("The Bloody Doors Off," 66-71; "You Found Me," 72)

Wednesday, 12 June 2019

Good Omens

Good Omens is a TV series by Neil Gaiman based on a prose novel by Terry Pratchett and Neil Gaiman so it is not comic-related except that Gaiman wrote comics. However, the cartoon credits and even the visuals with live actors generate a comics feel.

A former Doctor Who acts so well as a hip demon that he is scarcely recognizable.

Is the Antichrist necessary for Armageddon? Demons can break the rules. See "James Blish And The Antichrist," here.

The Time Travel Problem In Avengers: Endgame III

See here.

Andrea argues that:

the characters time travel from the present of Reality A to the past of Reality B and return to the present of Reality A;

Thanos follows some of the heroes from the past of Reality B to the present of Reality A;

therefore, the only discrepancy is that, if Rogers remained in the past of Reality B, then he should have aged into the present of B, not A.

I think it also follows that Thanos' disappearance from Reality B prevents V in B?

Tuesday, 4 June 2019

New Swamp Thing TV Series

In this version, there was something going on in the swamp even before Alec Holland got to it.

He says that he has seen an alien autopsy.

Some of the characters have the same names but they are not the same characters, particularly not Abby. Are Anton and Gregori going to show up?

Wednesday, 8 May 2019

The Cainites

I missed a point in the previous post about "Cain." On the very next page in Neil Gaiman, The Sandman: Season Of Mists (New York, 1992) -

Lucifer: Cain. You must know of the Cainites?
Cain: Can't say that I do...
Lucifer: Gnostic sect. Second century. They rejected the books of the New Testament in favor of the Gospel of Judas.
-page 49, panel 1.

Lucifer: They believed that we created the heaven and the earth, and that you were the persecuted party in that unfortunate affair with your brother. They also held that the way to salvation was to give way to lust and temptation in all things.
-panel 2.

Lucifer: And no greater percentage of them turned up here than of any other religion. Amusing, isn't it?
Cain: I wouldn't know.
-panel 3.

The Wikipedia article on Cainites mentions this issue of The Sandman as a popular cultural reference.

Now maybe it is time to return to Poul Anderson's very different Cainites?

Sunday, 28 April 2019

The Time Travel Problem In Avengers: Endgame II

See The Time Travel Problem In Avengers: Endgame I, here.

Just before V, Thanos detects the activities of one of the superhero teams that have traveled from 6 AV to times before V in order to extract the Stones;

following this clue, Thanos travels to 6 AV, arriving shortly after the teams have returned;

all those who had been dissolved at V are restored;

Thanos and all his forces are dissolved.

Therefore, in this timeline, Thanos, having been dissolved in 6 AV:

does not travel back to just before V;

does not cause V;

does not live on another planet from V until 5 AV;

is not killed on that planet by Thor.

Yet these events have happened in this timeline in which Thanos arrives in 6 AV.

Contradiction.

The Time Travel Problem In Avengers: Endgame 1

At the end of Avengers: Infinity War, Thanos uses the Stones to cause 50% of living beings throughout the universe to dissolve into dust. For convenience, let us call this mass dissolution the "Vanishment"(V), let us call years after V "AV" and let us call events immediately before V "just before V."

In Avengers: Endgame (I might not have all of these events in exactly the right order):

five years elapse so we get to 5 AV;
surviving superheroes find Thanos on another planet and Thor kills Thanos;
Ant Man, who had not dissolved but had been trapped in the quantum realm for five objective years but five subjective hours (?), returns to the macrocosm;
he suggests -

superhero teams travel to times before V when it would be possible for each team to extract one of the Stones and bring them to the present which is now some time after 5 AV, say 6 AV;
use the Stones to restore all the people who had been dissolved but do this in 6 AV;
return each Stone to the moment from which it had been extracted.

Thus, the past would not be changed: the history of each Stone would be uninterrupted and the six years between V and 6 AV would not be affected.

What is wrong with this plan?

Saturday, 27 April 2019

Avengers: Endgame

An ultimate feel good film. Also, an ultimate snatching victory from the jaws of apparent defeat film.

A serious attempt is made to avoid time travel contradictions. However, if the stones had to be returned to the moments from which they had been taken, then surely the same should apply to Thanos? And his memory of his trip through time should have been erased?

I had to run in and out during the credits so I do not know whether there was a mid-credits scene but will ask. It was good to sit till the end of the credits even though there was no post-credits scene. All those people deserve to have their names seen and some of the information is interesting.

Clint loses Natasha but gets his family back. Contrast this with what happens to these characters in The Ultimates. (Scroll down.)

It feels like the interminable movieverse finally went somewhere. It had legs. We now know who we will not see again.

Tuesday, 19 March 2019

Five Cessations Of Publication

(i) Fawcett Comics Captain Marvel.

(ii) Mick Anglo's Marvelman.

(iii) Warrior magazine with Alan Moore's Marvelman and V.

(iv) Eclipse Comics where Marvelman had been renamed Miracleman and Alan Moore had completed his story but Neil Gaiman had not yet completed his sequel.

(v) Marvel Comics Miracleman reprints.

Still to be completed: Gaiman's Miracleman.

Alan Moore's Miracleman is complete. Miracleman remembers being Marvelman who was an imitation of Captain Marvel who was an imitation of Superman.

Moore wrote happy endings for Superman and Swamp Thing and ambiguous endings for Miracleman, Watchmen and V who is a masked avenger. The others are superheroes. (Moore super-powered a swamp monster.)