Wrap up your week with some links after the cut.
Though the response from readers was overwhelmingly positive, last weekend's announcement that Marvel will republish Neil Gaiman and Mark Buckingham's scarcely available work on Miracleman, as well as allow the writer and artist to finally finish their long-incomplete story, led very naturally to one question: what about the Miracleman work of Alan Moore, which is similarly unavailable?
Fortunately, a press release sent out today by Marvel states quite clearly that the publisher will reprint the entire long lost Miracleman run of the 1980s, starting with the work of Moore. The confusion as to whether or not the Moore material would be included stems from the fact that Marvel has not mentioned the writer's name in any press.
Last week it was announced that NBC is developing a new TV series based on the DC Comics character John Constantine, best known as the star of Vertigo perennial Hellblazer. The television project is helmed by writer/executive producers Daniel Cerone and David S. Goyer. It's a potentially exciting prospect, but it appears that Constantine's creators may only see a piece of the pie if the show actually goes to broadcast - and the identity of the creators of record who may benefit is somewhat unclear.
In case you haven't heard yet, Grant Morrison recently offered his take on the end of The Killing Joke, the seminal 1988 story from Alan Moore and Brian Bolland. Widely considered one of the greatest Batman stories -- and possibly the greatest Joker story -- of all time, the ending is, arguably, a bit ambiguous. In an interview on Kevin Smith's "Fatman on Batman," Morrison said he believes that one-shot was Moore and Bolland's take on what would be a final Batman story --similar to Moore's Superman: Whatever Happened To The Man Of Tomorrow? -- with the story ending when, in his mind, Batman chokes the Joker to death as he laughs maniacally.
The timing of this comment from Morrison is interesting, because I was talking about this scene a few days ago with a friend who I've been having this same argument with since 1998. She's on Team Morrison, believing that Batman kills the Joker as well. It's an interesting theory, and one I understand, but here's the thing: Not only do I think both my friend and Morrison are wrong, but I think Batman killing the Joker would make for a completely pointless story.
There's Loki news and more to read in today's Link Ink.
The legendary and outspoken writer behind Watchmen, V for Vendetta, From Hell, and many more of the most memorable comic book stories of the last 30+ years, Alan Moore's feelings on creators' rights are well documented. He's continued to discuss his views at length in Occupy Comics, Black Mask Studios' Kickstarter-funded anthology inspired by the Occupy Wall Street movement, opining mainly on the comics industry's complex historical relationship with counterculture and corporations. Titled "Buster Brown At The Barricades," much of the latest chapter focuses specifically on Superman creators Jerry Siegel and Joe Shuster, and their lifelong struggle for credit and control of the Man of Steel they created and sold for just $130 in the 1930s.
There's a downside to being a fictional character in heroic literature, aside from being beholden to the whims of an author or the deadly danger a character is so often subjected to. The role requires a certain remove from the rest of humanity, and warm, reciprocal relationships with others. To s
While it may not have ever reached the same level of recognition as Watchmen or V for Vendetta, Alan Moore's From Hell -- his collaboration with artist Eddie Campbell, which speculated on the possible identity and motivations of infamous 19th century serial killer Jack the Ripper -- is considered by some to be the writer's greatest work. Now, he and Campbell are
Courtesy of DC Entertainment, ComicsAlliance brings you an advance look at new periodical comic books and collected editions going on sale in May 2013 from the publisher's Vertigo line for mature readers. All of the foll
Of all the movies that you would expect to be screened by China Central Television, the state-run broadcaster known for government censorship and propaganda, one that announces that "people should not be afraid of their governments; governments should be afraid of their people" wouldn't necessarily be high on anyone's list. And yet, last week, V For Vendetta was