Miracleman by Gaiman & Buckingham 1 (November 2015)

Miracleman by Gaiman & Buckingham #1

Miracleman by Gaiman & Buckingham. Will it be the classic always promised? Given how much Marvel butchered its reprints of the Alan Moore issues, will Neil Gaiman–when finishing the comic after twenty-five years–tone it done to make the Mouse happy?

And what do we–the readers–get for a happy Mouse? Not Miracleman, the movie. Do we even get Miracleman the quality collection, with unedited original writer issues?

I am not a Gaiman fan. I am a Moore fan. Going into Gaiman and Mark Buckingham’s Miracleman, I am slightly disinterested. I had forgotten they were going to do it. I had forgotten Marvel had been reprinting Miracleman. They’ve done such a bad job of it, the company clearly stretching its britches past the point of public appropriateness.

What does any of the above have to do with Miracleman by Gaiman and Buckingham? Not much. A little maybe. But definitely not much. Because, so far, there’s nothing to the comic. Miracleman is the granter of wishes. Gaiman writes about people who go see him. Miracleman makes it hard for people to come and ask wishes. But he installs toilets.

Buckingham’s art is cool. It’s an odd pairing with a superhero, but the comic isn’t a superhero book. It’s a pretentious outside-the-mainstream mainstream comic. And an okay one. But, if I were reading it twenty-five years ago, my thought would be the same–there’s only so much time Gaiman can ride on Moore’s steam.


Book Four: The Golden Age; writer, Neil Gaiman; artist, Mark Buckingham; colorist, D’Israeli; letterer, Todd Klein; editor, Cory Sedlmeier; publisher, Marvel Comics.

Judge Dredd’s Crime File 3 (October 1985)

Judge Dredd's Crime File #3

It’s an okay issue. It’s just too uneven.

The first story, with art by Ian Gibson, is a flop. Gibson’s style might be how I always think of Judge Dredd–visibly British, visibly stilted. Such long faces. Literally.

Grant and Wagner’s script is about a Block War, sort of. There’s a simple explanation though and a moral to the story. Dredd might even get touchy-feely at the end. It doesn’t come off with the Gibson art.

But the second story is a major improvement, with Colin Wilson taking over. Wilson makes one bad style choice–he casts one character as a noir villain instead of a luckless sap, which is more appropriate; I think an evil mustache is involved. The story’s solid. Dredd versus loan sharks who keep your loved one in suspended animation until you pay.

The last story, again with Wilson art, isn’t particularly good. It’s better than the first story, with Wilson showing how the right artist can make anything in a Grant and Wagner story work, but Dredd versus hackers is boring. Except how well Grant and Wagner forecast cybersecurity threats.


Writers, Alan Grant and John Wagner; artists, Ian Gibson and Colin Wilson; colorist, Janet Landau; letterer, Tom Frame; editor, Nick Landau; publisher, Eagle Comics.

Providence 4 (August 2015)

Providence #4

Unsurprisingly, Providence continues to impress, but–and maybe surprisingly–this issue doesn’t up the ante much as far as terrifying the reader. There are Lovecraftian elements around and there’s almost realization from the narrator in this issue’s back matter (which has Moore’s most obvious attempt at telling the reader to pay attention; he does it well and necessarily), but it’s not exactly scary.

Moore’s suspects–the players in the story–aren’t particularly dangerous as of yet. Maybe because they say they aren’t dangerous to the narrator, who’s just a visitor in their stories, not a participant or person of consequence, or maybe because they show concern. Moore’s doing a lot with the idea of town and country with Providence–which is somewhat strange, given the history and look at how people are treated differently is for New Englanders, not the British. It’s just his dedication to the project.

Reading the lengthy back matter, one has to wonder how much of it will eventually matter and how much of it is just Moore doing his job. He’s making Providence a filling read for its audience. He’s respectful of the reader’s time, respectful of the reader’s attention.

It’s an awesome, mellow comic. The one horror Moore does imply is so outrageous, one can’t truly fathom it so why try. Plus, Moore tells the reader not to try fathoming it. Subtly, but forcefully.


White Apes; writer, Alan Moore; artist, Jacen Burrows; colorist, Juan Rodriguez; letterer, Kurt Hathaway; publisher, Avatar Press.

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