A Dream Of Flying (Again): Marvel Files Trademark For Miracleman

It can’t be this easy. And make no mistake, it won’t be… but as of a week or so ago, Marvel Comics now seems to have the rights to the trademarks of Marvelman and Miracleman, putting them under the same roof for the first time in… well, considering Dez Skinn started publishing Marvelman stories in Warrior back in the 80s without necessarily paying Mick Anglo, the character’s creator know, maybe ever.

So here’s how it apparently plays out… and let’s all keep in mind that I am not a lawyer, I am not privy to nearly 30 years of discussions and legal paperwork, and I am quite hung over: Neil Gaiman settled the main part of his lawsuit against Todd McFarlane over the rights to the Spawn characters Gaiman created for McFarlane back in January of this year. But apparently there was still an outstanding issue: McFarlane had filed a trademark for the Miracleman character after he bought out Eclipse Comics in the early 2000’s, and Gaiman had, in turn, filed an opposition to that trademark. And that trademark has remained in dispute since then, even after the disposition of the original lawsuit, meaning that even though Marvel bought the rights to the Marvelman trademark from Anglo back in 2009, the trademark for Miracleman – which includes all the Eclipse-printed Alan Moore and Neil Gaiman stories form the 80s, which are the only ones anyone gives a fuck about – was still up in the air.

Well, whether as part of the terms of the settlement, or via sheer laziness or forgetfulness, it seems McFarlane has legally abandoned his claim to the Miracleman trademark. And on September 5th, Marvel Comics filed their own notice of trademark on the name.

Image United: Supreme #66 Review

EDITOR’S NOTE: Look, up in the sky! It’s a bird! It’s a plane! No, it’s Super – nah; it’s just spoilers.

Alan Moore’s run on Supreme, back when it was part of Rob Liefeld’s Awesome Comics imprint in the mid-90s, was a classic of the superhero genre in an era that brought us The Spider-Man Clone Saga, the death of Superman, and nearly every other comic book that wasn’t Starman, Hitman, Preacher or Channel Zero (my pull list was a lot shorter and cheaper between, say, 1995 and 2000). It was a simple concept: examine the character of Superman using a pastiche character, using versions of Superman’s Silver and Bronze age history as canon, while placing that character in the modern world of the 1990s, all about fifteen or so years before All-Star Superman was a glimmer in Grant Morrison’s baggie of peyote.

What with Liefeld resurrecting the comics under his Awesome imprint under the Image proper label, bringing back Supreme was a gimme, especially considering Alan Moore’s script for issue 63 had been written, but never produced, what with Awesome folding back in 2000. Moore’s final issue dropped a couple of months back, with Image partner Erik Larsen taking over writing and art in the subsequent issue. And Larsen is no Alan Moore. No one is… but in Supreme #66, he gets the broad tones and feelings right while updating Supreme for the 2010s. The question is: is that enough?

The answer is: kinda.

Elephant In The Room: DC Comics’s Before Watchmen Panel, SDCC 2012

I expected things to be a little more contentious than they wound up being at DC Comics’s Before Watchmen panel yesterday.

After all, this is Comic-Con. It is packed to the gills with rabid fanboys and fangirls, many of whom were swirlied in junior high school (Hi, Paul Jameson! I make a comfortable living in the software industry now! How’s that A in woodshop treating you, fucker?) and now that they have strength in numbers, are itching for a fight. This convention has fundraisers for Jack Kirby, panels dedicated to pointing out the injustice of Bill Finger not getting enough credit for co-creating Batman, and a panel called The Most Dangerous Women in Comics. It is a place where a lone nut in a Batgirl suit can change the course of an entire comics company, and come back the next year bearing gifts for the creators and none for the thousand or so paying customers whose convention experience she fucked with last year in order to further a personal agenda. In short: this is Angry Fanboy Central, and if there was a place for them to show their colors, it was this panel.

But that didn’t happen. Sure, the panel started a little bit late, and the whole Quentin Tarantino announcement smack in the middle sucked up some question time, so maybe the slavering, angry, “You fucked Alan Moore!” guy just didn’t get his turn at the microphone. The people who did get a turn were generally really enthusiastic about the whole Before Watchmen project; one fan flat-out said that he was one of those “keyboard commandos” who ranted against the whole project, but wound up really getting sucked into it. Hell, the entire Alan Moore elephant in the room was only addressed once by anyone in the crowd… and it was a guy who was hoping that DC could get Moore to work on a Watchmen sequel.

How’d that turn out? Well, let’s watch!

Monomyth: A Self-Discovery

With Rob and Amanda waist deep in nerd sweat out at San Diego Comic-Con, I’m left to my own thoughts and that’s not usually a good thing.

In an earlier post, Rob alluded to my very subtle unhappiness with what DC, and in particular Rob Liefeld, did to a couple of my favorite New 52 characters.  I was very disappointed with what happened with Voodoo when Ron Marz was relieved of duty. But when Liefeld took over Grifter, I nearly ripped the book in half.   I’ve tried writing a couple reviews of the recent iterations of these books, but I find myself digressing into a raving ball of spit and bile.  And after some soul searching, I had an epiphany….

I don’t like superheroes…

But Doctor, I Am Pagliacci: Jim Lee on Alan Moore and Before Watchmen

This past weekend, DC Entertainment Co-Publishers Dan DiDio and Jim Lee attended the Los Angeles Festival of Books. Why attend a straight book festival when the perfectly good Boston Comic Con was occurring on the same weekend? I’m guessing because if you’re gonna be forced to answer difficult and uncomfortable questions about the upcoming Before Watchmen, it’s probably easier to do it when they’re not being asked by, say, Fat Hispanic Superman.

And, at the DC Entertainment Presents: Watchmen – It’s Not The End, It’s The Beginning panel, difficult questions were asked, specifically related to the commonly held perception that the stack of prequel miniseries were personally and intimately screwing Alan Moore in a way that makes American prison showers so inviting. Specifically, one panelist asked Lee how he reconciled Moore’s issues with the prequels:

Alan Who? DC Debuts Before Watchmen Interior Art At C2E2

This past weekend brought us the C2E2 convention in Chicago, “C2E2” of course being an acronym for “a convention that’s growing like a weed since it is now almost purely and theoretically impossible to attend SDCC.” And since DC Comics’s Before Watchmen titles begin dropping in June, several weeks before the Big Dance in San Diego, and since displaying comics-related righteous indignation would technically require Alan Moore to obtain a difficult-to-secure work visa, it was a perfect time for Dan DiDio to take advantage of the con to trot out the creators and show off some preview art.

Pretty much all the creators were on the panel – you can get a pretty decent first-person recap of the panel at Comic Book Resources – but two highlights were Nite Owl and Dr. Manhattan writer J. Michael Straczynski’s comments on Alan Moore’s… shall we say inchoate, snide rage over the entire project:

A Republic Serial Villain: More Before Watchmen News

A hair late on this news, but DC Comics has announced the release dates for the first four issues of Before Watchmen. Minutemen by Darwyn Cooke, Silk Spectre by Cooke and Amanda Connor, Comedian by Brian Azzarello and J. G. Jones, and Nite Owl by J. Michael Straczynski, Joe Kubert and Andy Kubert will all drop on June 6th, 13th, 20th and 27th respectively… although if DC really wanted to announce that kind of decisive action, they should have gotten Dan DiDio to stand in front of a bank of flat-screens and say, “I released them thirty-five minutes ago.”

The books will be $3.99 a pop, or $4.99 for the digital combo pack if you want your childhood… shall we say affected… on your tablet, phone or computer. You can see the covers to these first four issues after the jump.

They’re All Agin Me: Alan Moore on Before Watchmen, Darwyn Cooke Minutemen Art

In a truly weird article reeking of cognitive dissonance, Fast Company’s Co.Create, which is a Web site that is not about comics, debuted exclusive new Darwyn Cooke art from the upcoming Before Watchmen book The Minutemen, while simultaneously debuting new comments from Alan Moore complaining that the Before Watchmen project should die on the vine, or in a chute, or really anywhere, preferably with Moore pulling the trigger.

“It seems a bit desperate to go after a book famous for its artistic integrity. It’s a finite series,” says Moore. “Watchmen was said to actually provide an alternative to the superhero story as an endless soap opera. To turn that into just another superhero comic that goes on forever demonstrates exactly why I feel the way I do about the comics industry. It’s mostly about franchises. Comic shops these days barely sell comics. It’s mostly spin-offs and toys.

Hmm… that’s not what I witness every Wednesday at my local comic store, where they know me by name and ask me to quit asking if they carry inflatable Power Girl dolls. What I do witness are a bunch of middle-aged guys with lucrative day jobs who can afford to buy a stack of three and four dollar comics, but that’s a different issue for the industry. Everyone knows that a product that targets only old white guys is destined to rocket to the top of any sales chart… provided your product is named Cialis. But I digress.

My Dinner With Alan: Alan Moore’s Video Conference

We have a very busy day ahead of us in no way related to the world of comics, so here’s a little light lunchtime / screwing off from work / pretending to work by staring intently at your computer screen entertainment: a two and a half hour long interview with Alan Moore.

Fo some background: a little while back, American Splendor creator Harvey Pekar’s widow, Joyce Brabner, started a Kickstarter project to raise money for a statue of Harvey to be erected in Cleveland. One of the benefits offered for donations of a particular dollar amount was the chance to participate in a video conference with Alan Moore. At the time it just seemed like a neat opportunity to get face time with a legendary creator… nobody knew that it would turn into a neat opportunity to get face time with a legendary creator who just learned that DC Comics was doing a prequel to one of his masterworks.

With that said, reportedly Moore is even-tempered, pleasant and gracious in the video (No, I haven’t seen it yet. I live in Boston, which means yesterday was spent watching a truly depressing football game and that I am hung over… and therefore need something to watch today while pretending to work), and addresses subjects from his feud with Grant Morrison, to Before Watchmen, to how to do magic.

Grumpy Old Man

Comic Book Grrrl‘s Laura Sneddon did a 1,000 word article for The Independent a week and a half ago recapping an interview with Alan Moore, which is an astounding feat to me considering I can’t get angry about a 20-page Flash comic in less than 1,300 words.

But apparently her interview with Moore went on for about an hour, and she has posted an uncut transcript of the entire interview on her Website. Let’s take a look… and while we’re doing it, let’s try to forget that “Uncut Alan Moore” would be an excellent title for an Axel Braun Watchmen porno, shall we?

So I think that might end up being one of the subtexts of Century as a whole, that it will be just this slow degradation of culture, you know sort of in the space of a hundred years. I mean that’s one of the things that’s most extraordinary about reading and writing Century as a volume, is that yeah one hundred years, that’s living memory. And yet we’ve somehow gone from the waterfronts that Brecht was writing about in 1910 all the way to the present day, and everything that that means…

I think we kind of, we risk simply losing genuinely valuable parts of society and culture because of our fascination with lights and bells and whistles. I blame a lot of culture, I found myself half way through one of my unfathomable rants the other night, you know where I suddenly sort of think, what am I actually saying? And it turned out what I was saying was that I blame most of Western culture upon the manufacturers of children’s cot mobiles. Simply because I think that they have programmed a couple of generations to be entertained by something if it’s moving and if it’s making a noise.

Sorry, Alan; could you repeat that? I was distracted by something moving and making a noise. Her name’s Sasha. Welcome to the Internet, where you are competing with her.