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Miracleman, known as Marvelman in his native United Kingdom, is a comic book superhero. He is likely the most famous British-created and owned superhero. He first appeared in Marvelman
Marvelman was created as a result of DC Comics’ plagiarism suit alleging similarities between DC’s Superman and Fawcett Comics’ Captain Marvel. Fawcett ceded the lawsuit, ending the publication of Captain Marvel comics. With their supply of reprints cut off, L. Miller & Son, the character’s British publisher, hired artist/writer Mick Anglo to create new characters based on Captain Marvel and related heroes.
An astrophysicist granted Micky Moran, a young journalist, the vast atomic powers of Miracleman simply by saying "kimota, " phonetically atomic backwards (Similarly, a wizard allowed Billy Batson, a newspaper boy, to become Captain Marvel by saying the magic word shazam). Young Marvelman and Kid Marvelman took the place of Captain Marvel, Jr.
The character became popular in Europe and imported to North America as Miracleman, to avoid confusion with Marvel Comics. In 1982, the anthology series Warrior began printing a dark Marvelman serial, written by Alan Moore, which found Micky Moran trapped in Philip K. Dick-ish layers of reality and unreality. Another popular British writer, Neil Gaiman, scripted an aborted Marvelman series in the early 1990s.
Currently, Marvelman is trapped in a complex and expensive legal battle with several people claiming at least partial ownership of the character.
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Marvelman: The Mick Anglo years
The character's origins were in black and white reprints of the American Captain Marvel comics by a London publisher, L. Miller & Son, Ltd. When the US publishers of Captain Marvel, Fawcett Comics, agreed to cease publication of the title after a lawsuit from DC Comics, Len Miller was faced with the supply of Captain Marvel material being cut off. He turned to a British comic writer/artist, Mick Anglo, for help, and transformed Captain Marvel to Marvelman and Captain Marvel Jr. to Young Marvelman. The changes took place with issue number 25 in each title, both cover-dated February 3rd, 1954, although they had been announced about five issues earlier.
Marvelman's origin was based strongly on that of Captain Marvel: a young reporter named Micky Moran encounters an astrophysicist who gives him his super powers, based on atomic energy. To transform into Marvelman, he has to speak the word "Kimota" ("atomic" backwards). Marvelman was joined by Dicky Dauntless, a teenage messenger boy who became Young Marvelman on speaking the name "Marvelman", and young Johnny Bates (Kid Marvelman, whose magic word was also "Marvelman").
They had fairly typical, unsophisticated superhero adventures, and the comics ran until February 1963. The titles published were Marvelman, Young Marvelman, and Marvelman Family which usually featured Marvelman, Young Marvelman and Kid Marvelman together. Marvelman and Young Marvelman each had 346 issues, being published weekly except for the last 36 issues, which were monthly, reprinting old stories.
Mick Anglo's association with Len Miller also ended in 1960. Marvelman Family was a monthly, from October 1956 to November 1959. A variety of Marvelman and Young Marvelman albums were printed annually from 1954 to 1963. At the height of their success, the British "Marvels" saw a series of Italian reprints.
In Brazil, British Marvelman stories were reprinted in the same titles as Fawcett's original Captain Marvel. However, in Brazil, Marvelman became Jack Marvel.
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Marvelman/Miracleman: The Alan Moore years
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In March 1982, a new British monthly black and white comic was launched called Warrior. From the first issue until issue
21 (August 1984), it featured a new, darker version of Marvelman, written by Alan Moore, illustrated by Garry Leach and Alan Davis, and lettered by Annie Parkhouse. Moore had been fascinated by the notion of a grown up Michael Moran and this was the Moran presented in the first issue; married, plagued by migraines, having dreams of flying, and unable to remember the word that had such significance in his dreams. In his initial run of Marvelman stories Moore touches on many themes of his later work including the superhero as a source of terror, the sympathetic villain and exploding the mythology of an established fictional character.
Moran is working as a freelance reporter when he gets caught up in a terrorist raid on an atomic research centre. Eventually remembering the word Kimota, Marvelman is reborn and saves the day. The adult Moran gradually remembers his early life as a superhero but his wife Liz finds the descriptions of the adventures ridiculous. In the process Marvelman makes love to Liz Moran and she becomes pregnant. Moran discovers that Johnny Bates (Kid Marvelman), not only survived, but lived on with his superpowers intact only to eventually become a murderous psychopath. After a brutal confrontation Kid Marvelman says his magic word by mistake and reverts to his alter-ego, the 13 year old Johnny Bates.
With the aid of a renegade British Secret Service agent, Evelyn Cream, and after a short fight with a new British superhero called Big Ben, Marvelman makes his way to a top secret military bunker. There he discovers remains of an alien spacecraft and two human skeletons fused together. Marvelman views a file that reveals his entire experience as a superhero was a simulation as part of a military research project, codename Project Zarathustra, attempting to enhance the human body with alien technology. Moran and the other subjects had been kept unconscious, their minds fed with stories and villains plucked from comic books by the researchers, for fear of what they could do if they awoke. When the project was terminated, so were Marvelman and his two companions: in a final, real adventure they were sent into a trap where a nuclear device was meant to annihilate them. Moran survived, his memory erased, and Young Miracleman died.
The series stopped (but was not complete) in issue 21 of Warrior, just after Moran meets his arch-nemesis Dr. Gargunza (based on Dr. Sivana, but now the scientist behind the experiment that created Marvelman). Now it was revealed that Gargunza, after working as a geneticist for the Nazis, had been recruited by the British after World War II. Unable to keep pace with the US and Soviet nuclear arms race the British had backed Gargunza to use genetics to develop a new superweapon. By coincidence an alien spacecraft crashed in the UK in 1947 and Gargunza was able to reverse engineer enough technology to create the first Miraclemen. The Miracleman project consisted of giving someone a second body, which was stored in an extradimensional pocket of space when not in use; when a telepathic signal was given the two bodies switched place in space and the mind was transferred as well. After the cancellation of the project Gargunza escapes to South America where he develops bio-technology weapons such as 'Marveldog'.
It is revealed that Gargunza has a deeper purpose as after the death of his mother he has a mortality complex and has designed it so that the child of Marvelman will act as the host of his own consciousness. Beginning in August 1985, Marvelman was reprinted in colour by an American publisher, Eclipse Comics, and the series carried to a conclusion, with art by Rick Veitch, John Totleben, and Chuck Beckum (aka Chuck Austen). For this printing, to avoid a trademark conflict with Marvel Comics, Marvelman became "Miracleman". Warrior was printed on a larger paper dimension, thus giving the artwork a very detailed effect when it was resized to suit the books published by Eclipse Comics. Many American readers, unaware that Miracleman was a British comic published years ago, were confused with the sudden "decline" in quality when Moore continued his story with Beckum/Austen's artwork.
As dark as the stories were during the Warrior years, Miracleman's tale became progressively darker when Moore went back to writing it again. Moran's daughter was born in issue 9 (which became highly controversial due to a graphic birth scene), two races of aliens, one called Warpsmiths, the other called Qys (who were behind the body-swapping technology) came to Earth, Miraclewoman emerges and Kid Miracleman returns.
It is with the return of Kid Miracleman that Moore writes at his darkest. He allows Kid Miracleman loose upon London while Miracleman, Miraclewoman, Firedrake (one of the new breed of superhumans discovered on Earth by Miracleman) and the Warpsmiths are off planet.
It is only when one of the Warpsmiths, Aza Chorn, transports some wreckage inside the body of Kid Miracleman, forcing him to transform back to Johnny Bates, that Miracleman is able to stop Kid Miracleman by killing his alter-ego.
However London has been destroyed, the Warpsmith Aza Chorn lies dead and the world now knows that gods walk among them.
This battle in issue 15 of the title is a highly disturbing and extremely violent one featuring a superhero battle of a type not previously seen. Moore has his artist, John Totleben, draw a nightmarish vision of an apocalyptic battle which still remains extremely powerful. Depicted are people running from a rain of severed hands and feet, skins hung up on clothes lines, corpses impaled on the hands of Big Ben, the Tower Bridge in ruin, decapitated heads everywhere, cars full of people plummeting to earth, mutilated children wandering screaming through the streets, as well as bodies upon bodies upon bodies.
Moore's last issue, number 16 ends with a controversial view on "What Superman should have done with his powers" - making the world a better place through totalitarian rule. Miracleman and his companions now rule the planet as they see fit, though they are ineffectively opposed by groups such as an alliance of Christian and Islamic fundamentalists. The 'age of miracles' is benevolent but in a final meeting between Miracleman and Liz, Moore indicates that Miracleman is incapable of understanding what humanity has lost when he imposes a utopia on the world. This ending contrasts with that of the simultaneously conceived serial V for Vendetta, in which the 'hero' destroys a dystopian society. Lance Parkin's book on Moore argues that the two endings, read together, demonstrate the writer's refusal of 'easy' utopian/dystopian answers (the ending also contrasts with the conclusion of Moore's Promethea, in which an 'apocalypse' of expanded human consciousness heals rather than destroys the world). It is in this last issue Moore allows himself the indulgence of attacking then British Prime Minister, Margaret Thatcher in one scene. Moore's work remains highly powerful if somewhat disjointed because of the breaks in publishing history.
We can gather a glimpse of how he originally meant the story to continue in Warrior issue 4 (also called the Warrior Summer Special), which features Marvelman and Aza Chorn gathering energy for the final battle with Kid Marvelman.
Hints to how dark the story would become were littered in the story, there were also signs as to how epic in scale Moore wished the story to become.
This story has never been reprinted in any shape or form since then so it remains an obscure yet highly discussed piece of comic history.
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Miracleman: The Neil Gaiman years
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Writer Neil Gaiman developed the series further in the 1990s, working with artist Mark Buckingham. He planned three books, consisting of six issues each; they would be titled The Golden Age, The Silver Age and The Dark Age.
The first part Miracleman: The Golden Age showed the world some years later: a utopia gradually being transformed by alien technologies, and benignly ruled by Miracleman and other parahumans, though he has nagging doubts about whether he has done the right thing by taking power. Gaiman's focus in The Golden Age is less the heroes themselves than the people who live in this new world, including a lonely man who becomes one of Miraclewoman's lovers; a former spy (whose tale recalls J.G. Ballard's short story War Fever); and a robot duplicate of Andy Warhol.
Eclipse followed up The Golden Age by publishing the standalone, three-issue mini-series Miracleman: Apocrypha, written and illustrated by a variety of other creators, with framing pages by Gaiman and Buckingham. These stories did not form part of the main narrative, but instead further fleshed out the world of The Golden Age.
Two issues of The Silver Age appeared, but issue
24 was the last to see print. Issue 25 was completed (apart from colouring) but due to the collapse of Eclipse it has never seen light. 23 and 24 saw the resurrection of Young Miracleman and would describe the beginnings of trouble in Miracleman's idyllic world, and 25 would have reintroduced Kid Miracleman. A few pages of issue 25 can be read at various sites online, and in George Khoury's book Kimota! The Miracleman Companion. The Dark Age would have seen the full return of the character of Kid Miracleman and completed the story once and for all.
Miracleman was a featured character (included among the entire Eclipse Universe) during this period, in the mini-series Total Eclipse, written by Marv Wolfman and penciled by Bo Hampton--with pencil assists by James Ritchey III and Mark Pacella (among others), and inks by Rick Bryant.
A short story by Gaiman and Mark Buckingham (entitled Screaming) appeared in Total Eclipse 4, where it technically comprised Gaiman's first published Miracleman story. This story was reprinted in issue 21 and in The Golden Age trade paperback.
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The ownership of Miracleman and the characters future
The legal ownership of Miracleman is one of the most complicated stories in comic book history; to best detail the ownership it is best to return to the character's beginnings.
L. Miller & Son was a UK publisher of dozens of comic titles. Len Miller reprinted material from many US publishers and European sources as well as creating his own original British comics. One of Miller's main source of income came from reprints of comic stories featuring Captain Marvel and the Marvel Family, originally created by Fawcett Publications in America. However, the company one day found itself facing the cancellation of two popular titles (Captain Marvel and Captain Marvel Jr.) due to the conclusion of a long-running legal battle between Fawcett and National Periodicals (the parent company of DC Comics). National maintained that Fawcett's Captain Marvel infringed the copyright of National's Superman character (see National Comics Publications v. Fawcett Publications for further details). Faced with reduced sales in the 1950s, Fawcett Publications eventually capitulated and this decision meant that Captain Marvel would no longer be published.
Faced with the sudden loss of their star feature, L. Miller & Son, Ltd. turned to Mick Anglo to come up with a replacement character that, while obstensibly a new creation, mimicked enough core elements of Captain Marvel to retain the interest of readers who had enjoyed the reprints. Anglo created Marvelman , which proved successful enough to keep the Marvelman/Young Marvelman titles going. In 1959, Britain allowed the importation of "real" American comics for the first time since 1939. American publishers were quick to respond with "pence price" editions of popular titles. Soon, with new American four-color silver-age comics circulating in the United Kingdom, the demand for British produced black and white reprints began to shrink. Miller, in an effort to save money, cancelled Marvelman Family and turned both Marvelman and Young Marvelman into reprint books in 1959. This move, however, was not enough to save the titles, both of which struggled on but were finally cancelled in 1963. Despite experimenting with format and a variety of material, L. Miller & Son Ltd. ceased comic book publication in 1966. The physical asbestos printing plates from which Miller had produced their comics, and presumably the rights to the comics as well, were sold to Alan Class, Ltd. Class, for his part, was interested primarily in horror and science fiction stories and reprinted few of the original Miller creations. Class was still using some of the Miller printing plates as recently as the late-1990s.
In 1960, a disgruntled Mick Anglo recycled some of his Marvelman stories as Captain Miracle which appeared briefly under his Anglo Comics imprint which folded in 1961. Anglo always claimed ownership of Marvelman although creator rights were almost unheard of in the work-for-hire British comics industry of the 1950s and 1960s.
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Warrior
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In 1982 when Warrior reintroduced Marvelman as its flagship title, the rights to the character were allegedly held in a four-way split between Warrior editor Dez Skinn, writer Alan Moore and artist Garry Leach, who owned 30% each, and the originating publisher, Quality Communications, which owned 10%.
However, in subsequent years there arose confusion as to how Skinn had gained the rights to Marvelman, or even if he actually held them. It is unlikely that the 1960s deal between Miller and Class was known in the 1980s. Several conflicting justifications were proposed:
Skinn thought the rights were in the public domain.
He had purchased outright the rights from Marvelman creator Mick Anglo.
After publishing had already begun, he had offered some form of retroactive deal to Anglo.
He just took the character, assuming there would be no interest in an obscure property owned by a dead company. (Skinn eventually said in Kimota! that this last was the case.)
As far as is known, Moore and Leach thought the second situation to be the case at the time and that their ownership was legitimate. So when Leach left the strip and was replaced by Alan Davis, Moore, Skinn and Leach transferred part of their ownership of the character to Davis - with Skinn claiming 10% and Moore, Davis and Leach, 30% each. Moore and Leach continued to own the aspects of work they created. Further, Skinn says that when Anglo visited Quality's office to view the new work, he agreed to being paid only if his old work was reprinted, should the revision prove successful. This happened, and Anglo was paid against the Marvelman Special published in 1983. Skinn also comments that he never directly claimed to have bought the rights from Anglo, who may not even have held them to begin with, given his role as an editorial packager for L Miller & Son.
To further complicate things, Marvel Comics, who objected to a competitor producing anything with "Marvel" in the title, threatened legal action in 1983. Even the rights to the alternate name for the character were murky, as Moore and Davis had already used the Miracleman name for a Marvelman duplicate in their run on Marvel UK's Captain Britain. With the creative team unable to produce a united front due to a series of differences between Moore and Davis, the strip saw its last appearance in Warrior issue 21, though Skinn did print letters he received from Marvel lawyers in Warriors final two issues.
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Eclipse Comics and bankruptcy
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In 1985 Eclipse Comics bought the rights from Skinn and started reprinting Marvelman, retitling it Miracleman to placate Marvel Comics. Davis, stating that he wanted no more to do with Moore or the situation, gave his rights to Leach.
So for much of the initial 16 issues on Miracleman, Eclipse believed they owned the rights to print the character. When Moore completed his story with issue 16 and Eclipse announced they wished to continue publishing, Moore gave his 30% share to Neil Gaiman who would be taking over the title, who divided them between himself and Mark Buckingham.
Unfortunately, Eclipse went bankrupt in 1994. The last published Miracleman issue was
24; issue 25 was more or less completed* but was never printed. Also, Gaiman had approved a spin off series called Miracleman: Triumphant which was written by Fred Burke and drawn by Mike Deodato Jr. The first issue of Miracleman: Triumphant was completed and ready for printing, and the second was scripted, but like Miracleman 25 the two issues would remain in publishing limbo after the collapse of Eclipse.
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Todd McFarlane vs. Neil Gaiman
In 1996, Todd McFarlane purchased Eclipse's creative assets for a total of $40,000. It has been suggested that McFarlane was mainly interested in the Miracleman rights; the rest of Eclipse's characters and properties were incidental, though he did not expect to keep them idle. McFarlane's plan was to reintroduce Eclipse's characters through two new Image Comics anthology titles, Todd McFarlane's Twisted Tales and Todd McFarlane's Alien Worlds. However, these were never printed and to date the only Eclipse character to appear again has been The Heap in McFarlane's Spawn title.)
McFarlane clearly had plans for Miracleman, but had neglected to consult Neil Gaiman, the last person to have held part of the rights. In 1993, Neil Gaiman had created the characters Angela and Medieval Spawn for McFarlane. Gaiman claimed that he had created them with the understanding that he would retain creative ownership of them, an ownership which McFarlane now disputed. His plans stymied, in 1997 McFarlane reached a supposed verbal agreement (and according to Gaiman, a written one as well) with Gaiman in which Gaiman would cede his half-ownership of Cogliostro and Medieval Spawn in exchange for which McFarlane would trade his rights to Miracleman. A subsequent letter from McFarlane to Gaiman would void this deal, if it ever legally existed, as McFarlane claimed that he already owned the two characters and pointed to a copyright notice on Spawn Issue 7 and cited them as the product of work-for-hire. He also stopped paying Gaiman royalties around this time for the action-figures and other items featuring the characters that were still in print. This was another of the direct causes for the legal action. At the time, no one was aware that the rights for Miracleman were not included in the purchase of most of Eclipse Comics' assets and both men believed that McFarlane held a large stake in Miracleman. That was a fact that would not become clear until after the lawsuit concluded. It turned out that McFarlane did, however, own two trademarks for Miracleman logos. Gaiman and Marvels and Miracles, LLC would take action to try to block him from being able to reregister these trademarks.
In 2001, McFarlane had introduced Mike Moran (Miracleman's alter ego) in Hellspawn issue 8, with the alleged intention of returning Miracleman himself in Hellspawn issue 13. This never came to pass as the lawsuit was filed before the book was ready for print. McFarlane also had included Miracleman in his section of what was then the long-delayed Image 10th Anniversary Book, known today as the Image Hardcover. He also released a Miracleman cold-cast statue as well as a 4" scale action figure that was partnered with Spawn in a San Diego Comicon exclusive two-pack. It had been McFarlane's intention to use the character in his core title. Since the Hardcover story became a direct tie-in to the events of Spawn 150 and beyond, Miracleman was retconned into a mysterious new character known as the Man of Miracles. His appearance as Miracleman is explained by Man of Miracles ability to shape-shift and the fact that people see him as they wish to see him at the time.
Man of Miracles was released in action-figure form in Spawn Series 29, wearing a modified Miracleman costume and bearing one McFarlane's two trademarked logos. This has created many fan-fueled rumors.
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Marvels and Miracles LLC
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To aid him with the legal battle against McFarlane, Gaiman formed Marvels and Miracles LLC, a company whose goal was to clear up the ownership of Miracleman once and for all.*
In 2002 Gaiman sued McFarlane over his unauthorized use of Miracleman, prompting McFarlane to countersue in turn. McFarlane lost the suit, and the following appeal. The case was seen as one of the single most important events in the comic industry on the issue of creator's rights. Unfortunately, it only cleared up the confusion over the characters Gaiman had created for McFarlane. The issue of Miracleman was thrown out in both the initial lawsuit and the appeal before the 7th District Court and there have been no further legal papers filed on the subject.
Gaiman had been dropping hints that should he successfully win full ownership of Miracleman from McFarlane that the name would revert back to Marvelman, the character would see a return to publication through Marvel Comics, and that Marvel would also reprint all past material. (Once saddled with a reputation for litigiousness, Marvel had transformed under the leadership of Joe Quesada, gladly making concessions to attract the cream of comic talent, and even seeking to correct mistakes of the company's past.) In 2002 Gaiman wrote the 1602 series for Marvel. Gaiman's profits from this series went to Marvels and Miracles LLC to aid his legal fight over Miracleman.* Amusingly, Gaiman's dedication in the collected editions of 1602 reads, "For Stan Lee and Jack Kirby and Steve Ditko, with infinite admiration. For Jonathan and Lenny, comics fiends. And, of course, to Todd, for making it necessary." Below, letterer Todd Klein thanks Gaiman for keeping him in mind, presumably to suggest that he, not McFarlane, is the beneficiary of Gaiman's remark, marking perhaps the only time a comic book letterer has submitted a dedication.
In late 2004 the A1 Sketchbook was released, in part including art from original Miracleman penciler Garry Leach and Atomeka Press. It contained four Miracleman-related pin-ups (although the pin-ups were not labelled as Miracleman, likely to avoid further legal entanglements). A variant of the sketchbook was also produced, with a "Miracleman" front cover and "Kid Miracleman" back cover by Leach.
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The future
The character's future remains uncertain as of 2006, due to further complications which have come to light since the end of Gaiman's case against McFarlane.
Dez Skinn has claimed to possess written evidence that all shares of the character which Eclipse Comics purchased, reverted back to their original creators after Miracleman had not been published for a number of years.
Mick Anglo has claimed that the rights never left him and he has always owned the character.
Alan Davis claims he owns the copyright of the art he produced for the character and also claims to have documentation to prove this. But this is common for all creators on the series - they own the rights to their work.
It has become unclear exactly what happened to all of the assets of L. Miller & Son when they ceased publishing in 1966, possibly calling into question the claims of everyone concerned in the fight for the rights to Marvelman. Although subject to rumour and speculation, the nature and details of any transfer of property between Len Miller and Alan Class are unknown.
Further, any reprint would have to involve Garry Leach, as his Warpsmith characters, which appear in the stories, were only "loaned" to Eclipse for their Miracleman run. Warpsmith solo stories have featured in A1, published by Garry Leach's Atomeka Press.
In the December 5th 2005 edition of Rich Johnston's column, It was revealed that a character called The Man Of Miracles will feature in Spawn 150.*. The character was errantly rumored to be a retcon of Cogliostro, a character Neil Gaiman originally created for McFarlane's Spawn series. Johnston's assertion was rebuffed on the Alan Moore Fansite:
"...David Hine, the current "Spawn" writer, told me that he doesn't intend to have any character in "Spawn" whose ownership is currently contested and that as far as he is concerned, the character Man Of Miracles is not Miracleman and bears no resemblance to the character. He has a clear idea of who the character is, which will be made clear as the book progresses. And I know both he and his friend Mark Buckingham had discussed this amicably..."
An action figure of Man of Miracles was produced by McFarlane in Spawn Series 29.*
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Miracleman collections
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All of these books are currently out of print.
Miracleman Book One: A Dream of Flying, by Alan Moore, Garry Leach, Alan Davis. Collects issues 1-3.
Paperback: Eclipse Books, 1990. ISBN 0-913035-61-0.
Hardcover: Eclipse Books, 1990. ISBN 0-913035-62-9.
Miracleman Book Two: The Red King Syndrome, by Alan Moore, Alan Davis, Chuck Beckum, Rick Veitch. Collects issues 4-7, 9 (8 was a reprint of Mick Anglo material).
Paperback: Eclipse Books, 1990. ISBN 1-56060-036-5.
Hardcover: Eclipse Books, 1991. ISBN 1-56060-035-7.
Miracleman Book Three: Olympus, by Alan Moore, John Totleben, Rick Veitch. Collects issues 10-16.
Paperback: Eclipse Books, 1991. ISBN 1-56060-080-2.
Hardcover: Eclipse Books, 1991. ISBN 1-56060-079-9.
Miracleman Book Four: The Golden Age, by Neil Gaiman and Mark Buckingham. Collects issues 17-22.
Paperback: Eclipse Books, 1992. ISBN 1-56060-168-X.
Paperback: HarperCollins, 1993. ISBN 0-06-105005-9.
Miracleman: Apocrypha, by various.
Paperback: Eclipse Books, 1992. ISBN 1-56060-189-2.
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Related Books/Articles
Paperback: TwoMorrows Publishing, 2001. ISBN 1-893905-11-X.
Magazine Article: Comic Book Marketplace
Journal: Boardman Books, 2006.
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