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Marvel on Tuesday released the first preview of its remastered Miracleman #1, dividing fans with its modern coloring. Some of the comments come from newer comics readers still wondering what the big deal is about this series; surely, the “mehs” are already being prepared for the issue’s Jan. 15. debut.
Despite the updated coloring, it probably isn’t fair or even realistic to hold the series up against contemporary comics, despite Miracleman‘s significant influence on a good deal of them. Instead, it’s best to view these stories in the context of the times, which makes it easier to see why Miracleman (or Marvelman, if you prefer) is the natural stepping stone to Watchmen, and established many of the themes Alan Moore and many creators that followed him would explore in subsequent works up through the present day.
Among the relatively few fans who have read these stories, Miracleman is often held in the same regard as seminal works like Watchmen and The Dark Knight Returns. Both of those revered miniseries debuted in 1986 and caused a seismic shift in how superhero comics, and mainstream comics in general, were created and received. It’s worth noting then that a good amount of what Watchmen and The Dark Knight Returns later touched upon and accomplished had been done four years earlier with Marvelman. If it weren’t for the legendary rights quagmire that prevented those stories from being reprinted, Miracleman would almost surely be just as celebrated and commercially successful as its successors.
Following the release this morning of the preview of Marvel’s remastered Miracleman #1, CBR News Editor Kiel Phegley dug into his archives for the original 1982 color issue, by Alan Moore and Garry Leach, so we can compare and contrast (the story first appeared in black and white in 1982’s Warrior #1).
While some traditionalists may argue for the original, we can probably all agree that Miracleman’s recolored, non-purple face on the right is a great improvement. You can compare the other preview pages below.
The remastered Miracleman #1, featuring a new cover by Joe Quesada, goes on sale Jan. 15.
We’re living in an age where increasing aspects of our comics heritage is being protected, with all manner of work coming back into print in fittingly deluxe packages. However, we can all think of great comics that will probably never be reprinted, for various obscure reasons. For example, all manner of great work published by Marvel and DC in the 1970s and ’80s will never see the light of day again due to lapsed licensing deals. Other titles, other creators, simply fall from fashion, to await rediscovery by another generation. Others still end up in complicated rights battles and litigation.
One field of comics-related work that seems to be just lost to the unrelenting march of time and progress is that of the pre-Internet fanzine. Many significant figures in comics history contributed text and art to this near-dead medium, and it’s hard to see any organization having the will to invest in researching, reprinting or digitizing this lost legacy.
Colin Smith is a blogger and the author of Sequart’s “Shameless? The Superhero Comics of Mark Millar,” and as a critic has written about comics for some of the United Kingdom’s top magazines. He has a secondary blog where he has been recently sharing some great art from old U.K. fanzines and convention booklets.
For comics fans of a certain age, the launch of Dave Elliott and Garry Leach’s Atomeka Press imprint and its anthology title A1 was an epochal event. Coming along in 1989, A1 featured talent from the United Kingdom, the United States and mainland Europe. As comics had both grown and grown up so much during the 1980s, the bringing together of all these strands seemed important, timely and inevitable. Here was a comic where you could find the best creators from 2000AD, Warrior and Deadline together with artists from the boom in the U.S. indie-comics market, alongside Moebius or Enki Bilal, then at the height of their powers.
The history of Atomeka’s rise and fall mirrored the explosion and implosion of the entire industry (there’s a great retrospective interview with Dave on the matter here), and the imprint has made faltering steps back into the limelight since 2004. Its return has seemed all the more concrete since the publication of Heavy Metal #259, which Dave guest-edited (a PDF sample is available here), and showcased the kind of material a re-energized A1 could feature. Nestled beside established talent such as Alex Horley, Andy Kuhn, Tom Raney and Toby Cypress was a crop of new talent Elliott has been nurturing, such as the Indonesian superstar-in-the-making Barnaby Bagenda, possessor of a style somewhere between Leinil Yu and Fiona Staples. His presence alone would make me hopeful for the returning anthology.
Orbital Comics in London opens its second annual Halloween exhibition “Magick Eye 2″ today at its gallery space on Great Newport Street. It features work from a host of U.K. comic talent, including Rufus Dayglo, Shaky Kane, Steve Cook, Jason Atomic, Garry Leach, Rian Hughes, Will Simpson, Garry Erskine, Steve Pugh and Bill Ward.
The above flyer art is by Garry Leach, the lesser-spotted artist of Alan Moore’s Marvelman and Warpsmith strips. Few comic artists have published so little but had so much impact upon their medium. Some artists have posted their contributions variously on their blogs or Facebook pages, and there’s a gallery of featured work at Jason Atomic’s Stripped blog. More below, some of which is a little on the NSFW side.