March Comics Round-Up: Other publishers

Really, just take it in.

And on with the non-Marvel titles. No DC this month, excepting Multiversity which isn't due out for a week so won't get picked up till April, most likely. While Marvel is preparing for Secret Wars, DC is about to enter the Convergance, which will have consequences including decent new costumes for Superman and Wonder Woman, and Batman dressing up like a robot bunny rabbit. I have, however, been watching a lot of DC lately. Maybe I just prefer Bats and Supes on the screen to on the page?

Instead I grabbed a bunch of occasional titles and tried some new ones, plus regular subs. A lot of TV and film tie-ins here, which is very much my thing, and consequentially means a lot of IDW. Also, Alan Moore's new Nemo book is out, so I grabbed that too.


The Fly: Outbreak #1 (IDW)

IDW is very good at providing platforms for seemingly dead properties to be explored again. I'm slightly bemused by this one, in that I think most people would have taken the chance to ignore the events of the not-terribly-good The Fly II and follow on from Cronenberg's masterpiece. (And it is a masterpiece.) In fact, I'd really love to see a working of Geena Davis's Flies treatment, but hey ho. It's been a long time since The Fly II, but Outbreak seems to either retcon/misconstrue the ending to the film or I'm misremembering it myself. Still, I'm fairly certain that the villainous Bartok was left as a misshapen monster because essential human genes were removed and implanted in Martin's cells, not because he had fly DNA swapped into his body. In any case, I like how this story deals with Martin's guilt with leaving Bartok in this state, and how he has become little better than him with his constant experimentation. Not sure how this is going to develop, but it's reasonably well written and it looks fantastic.

Frankenstein Underground #1 (Dark Horse)

It's been ages since I read any Mignola. I'm not sure why; I love Hellboy and BPRD, it's just a universe I haven't found myself visiting for some time. So an unexpected new series starting seemed like a good opportunity to jump back in. Frankenstein Underground is a Hellboy spin-off, and so takes place in that macabre universe, and it certainly feels part of that aesthetic. It's a shame Mignola doesn't really draw anymore, save for covers and occasional special items, but Ben Stenbeck's art is similar enough to match the world's tone while being distinct enough not to feel slavish. A sympathetic and horrific look at the classic Monster, and one I think I shall follow.

Doctor Who: Eleventh Doctor #8 (Titan)

I dropped this for a bit due to not wanting to have to sell a kidney to afford all my comics, so with a little spare cash I thought I'd grab it again. Bit of a shame I missed any of these; Al Ewing is on the top of his writing game, and the Eleventh Doctor series are the best Doctor Who comics around right now. Alice is a companion who really should have been on TV; she's realistic and likeable, but not a pushover, and I doubt she'd have polarised opinions in the way either Amy or Clara have. Jones, on the other hand, is just fun, and is now speaking almost entirely in David Bowie quotes. Because that's who he is, even if he isn't officially young Davey Jones. This is intriguing, well told and often very funny, and I still love Warren Pleece's slab-faced version of Eleven.

Doctor Who Magazine #484 (Panini)

This month's comic strip is a one-off, entitled "Space Invaderz," which is fun parody of Storage Hunters and similar programmes. There only two problems: firstly is that a similar idea was used for a story in the recent anthology Seasons of War, but rather better executed. This happens when there are multiple publishers of one property, but there you go. Secondly, though, is that this is obviously meant to be funny, but just isn't very. Bit of a misstep, but they can't all be classics.

Bill & Ted's Most Triumphant Return #1 (Boom!)

Another eighties movie follow-up this month, this time from Boom! With talk of a third movie happening in the near future, it seems timely to provide a follow-up to Bill and Ted's Bogus Journey. This picks up almost immediately after the finish of the second film, and deals with the pressure on the Stallyns to write their second song and continue their destiny. Good fun, with some enjoyable use of time travel. A separate, shorter story concerning the good robot Bill and Ted rounds off the issue. Worth checking out issue two, I feel.

Star Trek #43: Five Year Mission (IDW)

Picked this up to see what was going on in the Abrams-verse. Nothing very gripping, sadly. The Enterprise has gone a bit Star Trek: Voyager and is now adrift in the Delta Quadrant. Somehow, I feel this won't last, considering they've got to be back in the neighbourhood this time next year for the third movie (like that's going to arrive on time). A mysterious local offers assistance. Can she be trusted? What do you think? Nothing special, going to drop this line for good.

Saga #26 (Image)

I'm wondering whether to continue buying this monthly, or to stop and wait for the trades, which do seem to be a better format for the story style. Then again, I really do enjoy my regular dose of Saga, and there are far worse crimes than moving slowly. It's a long wait till the next phase of the story starts as it is. We're in a very different place now to where the series started, and the shifting friendships and alliances are intriguing. It needs to come to a head soon, though. Remains utterly compelling, for all that.

Nemo: River of Ghosts (Top Shelf/Knockabout)

The final installment of Alan Moore's Janni Nemo trilogy, this chapter taking place primarily in 1975, with the now very elderly lady captain falling into obsession with the potential return of her archnemesis, Ayesha. It continues in the vein of the previous volumes, playing the game of dropping in as many references for readers to spot as possible. This manages to cross-pollinate Dr. Goldfoot and the Bikini Machine, The Lost World, The Creature from the Black Lagoon and Incan adventure tales, throwing in a gaggle of Hitler - sorry, I mean Hynkel - clones. Hugo Coghlan, aka Hugo Hercules, is a particularly obscure character to lift from the archives, but he's an important one, often cited as the first superhero. He's good fun though, providing unlimited muscle and a surprisingly sympathetic ear for Nemo. It's also heavily implied that he's the father of Desperate Dan of The Dandy, which, textually speaking, I suppose he is. There's something of a theme of ageing and the loss of faculties, with regards to Nemo herself and the ever-advancing world beyond her sanctuary. Essentially, though, this is a romp, and while that's great fun and all, Moore's work used to be about something.

Those Marvellous Captains

Two of the upcoming comic-inspired movies I'm most looking forward to are Captain Marvel from Disney/Marvel, and Shazam from WB/DC. Both star a superpowered character who goes by the name Captain Marvel, although the hero of Shazam might end up being called Shazam. Understandably, there's a little confusion regarding the name "Captain Marvel" and how it relates to various characters. Not only have there been various characters in both the DC and Marvel universes named Captain Marvel, they have generally also gone by various other names. There are also various Marvelmen, Marvel Boys, Marvel Girls and Ms. Marvels, not all of which are related to the Marvel comic publishers. How to make sense of all this? Well, here goes:

Fawcett, National and DC

The original Captain Marvel was the star of a strip published by Fawcett Comics, his initial apperance being in issue two of Whiz Comics in 1940. At first glance, Captain Marvel was a Superman rip-off, and it was certainly the success of National Comics' Batman and Superman comics that led to the creation of Whiz Comics and its characters. The origin of Captain Marvel was entirely different, however. He was teenager Billy Batson, who encountered the wizard Shazam, who granted him the power to transform into Captain Marvel by uttering the word "shazam!". The magical incantation granted Billy the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the the power of Zeus, the courage of Achilles and the speed of Mercury. He had very Superman-like powers and appearance, and yes, this did eventually get Fawcett comics into trouble. However, during the 1940s Captain Marvel's adventures were the best-selling American superhero comics of all, outselling his inspiration. During that golden era, a whole Marvel Family was created, including Captain Marvel Jr (really the young boy Freddy Freeman) and Mary Marvel (Billy's twin sister Mary). While Mary got her powers from saying "Shazam!" like her brother, Freddy had to say "Captain Marvel," so was always a second-tier sidekick to the true Captain Marvel. There was also a short-lived spin-off title called The Marvel Family, which featured other, non-powered members of the Marvel family, plus Marvel Lieutenants and even a Marvel Bunny. 

By 1953, however, the tide was turning. National Comics was now Detective Comics Publishing (later DC Comics), and a lawsuit between DC and Fawcett over Captain Marvel's similarities to Superman resulted in the cancellation of the line. DC eventually required the rights and finally complete ownership of Fawcett's stable of characters, and made plans to bring back Captain Marvel as one of their own heroes - one of the few who could go toe-to-toe with Superman. Various attempts to revive the character in the 70s and 80s, including an alternative version named Captain Thunder, had not been very successful, but in 1991 the graphic novel The Power of Shazam! reintroduced the character for good. Captain Marvel has survived the many reboots of the DC line, and still exists, with a revamped backstory, in the New 52. 

The problem, of course, is that during Billy Batson's period off the stands, Timely Comics, publishers of such characters as Captain America and the Human Torch, has changed their name to Marvel. To protect their copyright, Marvel created their own superhero named Captain Marvel, who premiered in Marvel Superheroes in 1967. After this, all the new DC Captain Marvel products were sold under the name Shazam! By 2011, the character had stopped being referred to as Captain Marvel even within the comics' story material, and was now known as Shazam (formerly the name of the wizard). While many fans still refer to him as Captain Marvel, this does fit with a proposed future mythology for the character, in which he will one day become the new wizard Shazam and choose a new Captain Marvel. Captain Marvel Jr, for his part, split from the Marvel family for a time and changed his name to CM3, while the New 52 version wishes to be known as King Shazam. There are other Captains Marvel in the DC multiverse, as well. One of Batson's most nefarious enemies is Black Adam, an evildoer who also wields the power of Shazam (and who will be played by Dwayne Johnson in the upcoming movie). There's also a version of the character on the parallel Earth-3, only in this version of events, it is Lex Luthor who is granted the power, whenever he says "Mazahs!" Really.

M. F. Enterprises

Between the Fawcett and Marvel iterations of Captain Marvel, a minor publisher named M. F. Enterprises created their own short-lived character by the same name. He appeared in four issues of his own self-titled comic in 1966-7, and two issues of the even briefer Captain Marvel Presents The Terrible Five. This character was a "Human Robot" (read android) whose background was otherwise pretty identical to Superman's, while his powers were odd to say the least: he could detach his body parts by shouting "Split!" He also had more regular abilities like laser eyes and a hyper-intelligent computerised brain. This Captain Marvel took on the secret identity of Roger Winkle, a mild-mannered reporter, no less, while his sidekick was the young Billy Baxton.

Given that his name clashed with both Marvel and DC properties and that his background, alter ego and villains were direct rip-offs of DC characters, it wasn't long before this Captain Marvel was put out of business. He did, however, make a brief cameo in a 1997 issue of The Power of Shazam!

Marvel Comics

When Marvel pinched the rights to the character name, they began a series of characters called Captain Marvel, a legacy title that has been handed down and that, unlike Captain America, say, has no one character who dominates its history. The first Captain Marvel is actually called Marr-Vell, and is a member of the alien race the Kree, sent to Earth to monitor them only to eventually break away and ally with the human race. In a grim turn of events, Marr-Vell died of cancer in the graphic novel The Death of Captain Marvel. The second Captain Marvel was Monica Rambeau, a character created in 1982 and, unusually, a black female superhero. Rambeau was bombarded by cosmic energies, granting her the ability to convert to electromagnetic energy, and allowing her extreme speed, intangibility, energy blasts and so on. As Captain Marvel, she led the Avengers for some time.

Marr-Vell's son, Genis-Vell, became the third Captain Marvel, and after some initial friction, Rambeau conceded the name. She has since been known as Pulsar and Photon (neither of which is a name unique to her, because that would be too simple) but now goes by the name of Spectrum, and is part of the Mighty Avengers team, acting as their field commander. For some, Rambeau is the definitive Captain Marvel, and while she is both a major female member of the Avengers and a real heavy hitter, she is not the Captain Marvel who will be headlining her own Marvel movie.

Now, Genis-Vell, Marr-Vell's genetically engineered son, had a hard time as the Captain, going mad and destroying the universe (he did fix it up again though). Genis took the name Photon (requiring Rambeau to change her name again, and yes, this is confusing) leaving the captaincy open. It was taken next by his sister, Phyla-Vell, who came to exist as part of the strange effects of Genis's recreation of the universe. Phyla's name is a terrible pun of the part of writer Peter David. She has since become known as Quasar and then Martyr, became one of the Guardians of the Galaxy, and died in battle. The fifth Captain Marvel was a Skrull sleeper agent known as Khn'nr, a shape-shfiting alien who took on the identity of Marr-Vell. The Marr-Vell identity became dominant, so for a short time it was as if the original Captain Marvel was back. He died too.

Marvel Boys and Marvel Girls

While Captain Marvel didn't come to Marvel until relatively late on, Marvel-monikered heroes graced its pages even before it was called Marvel Comics, back when it was called Timely Comics, and then Atlas Comics. The first such character was Marvel Boy, aka Martin Burns, a young man who wielded the power of Hercules in the Forties. In fact, there were two Martin Burnses, according to the official Marvel history, an attempt to make sense of two wildly contradictory origin stories. Supposedly they were both active under the name Marvel Boy at the same time, because this isn't confusing enough. In the 50s, Robert Grayson received cosmic bracelets from the Eternals to become Marvel Boy in his own title from Atlas Comics. And he grew up on Uranus. This Marvel Boy was revived in the 70s and revamped as the Crusader, and become part of the superhero team the Agents of Atlas in 2001. His bracelets were later donned by Wendell Vaughn, who became the next Marvel Boy, later Marvel Man, and finally Quasar. Yes, this is also the name later taken by fourth Captain Marvel, Phyla-Vell, after she acquired the cosmic armbands.

The fifth Marvel Boy was Vance Astrovik, a mutant who later took on the hero name Justice. To be extra confusing, another version of Vance Astrovik better known as Vance Astro became a member of the original Guardians of the Galaxy in an alternative timeline in the 31st century. The two Vances have even met up and worked together. The original Vance was followed by another mutant, the even more powerful David Bank. The best known Marvel Boy, however, was Noh-Varr, another member of the Kree race. He sided with the Earth during the Skrull invasion and took on Norman "Green Goblin" Osborn's offer of joining his "Dark Avengers," becoming the sixth carrier of the title of Captain Marvel.

There have been four Marvel Girls. The first was the mutant girl Jean Grey, founding member of the X-Men and also known by the name Phoenix, although generally referred to, unusually, by her given name in most things these days (particularly on TV and film). She was, of course, played by Famke Jansen in the Fox X-Men movies although will presumably be recast for X-Men Apocalypse. Jean Grey has died numerous times, and it never sticks. She and her husband, Scott Summers aka Cyclops, share some of the most convoluted storylines and family tree in the Marvel universe, covering multiple alternative timelines and potential futures. Their daughter Rachel, from one such future, is the third Marvel Girl. The second was Valeria Richards, the daughter of Reed Richards (Mr Fantastic) and Sue Storm (Invisible Girl/Woman) in yet another alternative timeline. There was also a fourth Marvel Girl in yet another alternative future, Dream Richards, the daughter of Rachel Grey and Franklin Richards, Valeria's brother. A proper Marvel family.

Ms. Marvel

Carol Danvers, a USAF officer, debuted in the 60s in Marvel Super Heroes, where she was caught in an explosion alongside Marr-Vell. Although injured, she absorbed some of his Kree DNA, since this is what happens in explosions in comics. Now equipped with flight, super strength and other abilities, she took on the name Ms. Marvel, and received her own title. Danvers has gone through some pretty horrendous stuff in her long comics career, including an ill-judged rape storyline and a twisted encounter with the X-Man Rogue, which ended up granting Rogue enhanced powers but also carrying round a copy of Danvers in her head. Danvers later received enhanced powers at the hands of another alien species, and took on the name Binary. She's also been known as Warbird, but eventually settled back into being Ms. Marvel. Danvers first got the title of Captain Marvel in another alternative reality, in the House of M event, before finally taking on the position in the mainstream comics run in 2012. Since then, the Danvers-headed run of Captain Marvel  has become enormously popular. As well as being a member of both SHIELD and the Guardians of the Galaxy, Danvers has been the subject of continual fan requests for the cinematic treatment. And so it is this Captain Marvel who will be getting her own major movie release in 2018, as part of the third phase of the Marvel Cinematic Universe.

This has of course left a vacancy for the position of Ms. Marvel. Although there have been two other shortlived Ms. Marvel's in the past - Sharon Ventura, who later mutated into the She-Thing, and Karla Sofen, better known as Moonstone, who became the evil Ms. Marvel as part of the Dark Avengers. The current Ms. Marvel is Kamala Khan, a young Pakistani American girl who sees Danvers as her idol, and takes on the name after her Inhuman powers are triggered. Given that both Captain Marvel and the Inhumans have movies coming up (and the Inhumans are also involved in Marvel's Agents of SHIELD on the TV), it's not impossible that we'll see Kamala on screen sometime.

It's also worth briefly mentioning that Danvers appears in other Marvel lines, set in yet more alternative timelines. The Ultimates line features a non-superpowered Captain Danvers who is at one time involved with Mahr-Vehl, the Captain Marvel of that reality. She also features prominently in the Marvel Mangaverse, in which she actually becomes Captain America. As Captain Marvel, though, Danvers is probably the premier female superhero of the mainstream Marvel line. I mean, she represents the Earth to the universe at large, that's pretty impressive.

The Marvelman Debacle

Although most committed comics fans get their comics from specialist shops that import them from the States, there's a tradition of British publishers selling reprinted American comics in newsagents on the high street. Fawcett's Captain Marvel and its spin-offs were published here by L. Miller and Sons. Ltd, who found themselves in a pickle when Fawcett cancelled their entire line following the dispute with DC. So Miller's simply produced their own knock-off version of the good Captain, under the name Marvelman. This was young Mickey Moran, who received his powers from an interstellar wizard-scientist and became Marvelman when he uttered the word "Kimota!" (atomic backwards, sort of). He got his own version of the Marvel family, with Dicky Dauntless as Young Marvelman and Johnny Bates as Kid Marvelman, each swapping their child bodies with superpowered adult forms when they exclaimed "Marvelman!"

The original Marvelman run carried on till 1963, when it was canned. It was revived in 1982 by Dez Skinn and Alan Moore for the first issue of Warrior, an anthology comic in the vein of 2000 AD. Having already revamped the poorly conceived Marvel character Captain Britain (which included another version of the Marvelman character, briefly glimpsed as Miracleman in another timeline), Moore began his career defining deconstruction of the superhero genre by crashing wholesome hero Marvelman into the real world. The adult Mike Moran, plagued by nightmares from his forgotten time as Marvelman, rediscovers his powers. His journey of discovery leads him to Johnny Bates, who has remained in his Kid Marvelman guise through the years and matured to become supremely powerful. Forced back to be thirteen-year-old Johnny, he suffered horrific bullying and sexual abuse in the children's home he as dumped in, leading to another devastating resurgance of Kid Marvelman's powers. 

The new Marvelman strips were sold to American publishers Eclipse, whereupon they gained the attention of Marvel Comics, who, as with DC, took exception at their use of the Marvel name. Eclipse changed Marvelman to Miracleman, with the rest of the new Marvel family changing in kind. There was also a version of Mary Marvel, named Miraclewoman, created when young girl Avril Lear was experimented upon to create a superpowered being in the nature of Marvelman/Miracleman. Moore left the comic and it was continued for some time by Neil Gaiman. After an unpleasant dispute over creators rights between various parties including Spawn creator Todd McFarlane, the collapse of Eclipse comics and his purchasing of their properties, and legal ramifications regarding the purchase of the original Marvelman material, Miracleman was scrapped. Just recently, however, Marvel have purchased the Marvelman back catalogue, although the reprinted Miracleman retains the Marvel-less name. A weird upshot of this is that Gaiman is now writing for Marvel and has sold them the rights to his Spawn character Angela, who is now part of the Guardians of the Galaxy and set to join the Avengers. Gaiman will be continuing the Miracleman story in new issues. 

Confused?

So, there are, currently, two characters called Captain Marvel. Carol Danvers is the Captain Marvel who belongs to Marvel Comics, used to be Ms. Marvel, and will star in the movie Captain Marvel. Billy Batson is the Captain Marvel who belongs to DC Comics, whose comic and upcoming movie are called Shazam! and who is officially called Shazam himself. Marvel comics still have a Ms. Marvel and sometimes a Marvel Girl, and while they now own and publish Marvelman, they're still marketing him as Miracleman. It's quite straightforward really.

REVIEW: Nemo: Roses of Berlin by Alan Moore and Kevin O'Neill

This is the second volume following Janni, the second Captain Nemo, a sequel to the (superior) first volume, Heart of Ice. Moore introduced the character in a particularly brutal storyline in the first chapter of The League of Extraordinary Gentlemen's third chapter, Century. I am a huge admirer of Moore's work, and Janni Nemo is one of his finest characters; a powerfully strong woman who has overcome great cruelty and patriarchy to become her own agent in the world, freer than almost any other character in the book. Century: 1910 and Heart of Ice were both excellent. So it's disappointing that Roses of Berlin is merely fairly good.


After the denser, more complex previous volumes, Roses of Berlin comes across as lightweight in Metropolis. In this version of history, it is Adenoid Hynkel, The Great Dictator himself, who rules a unified Germany-Pomerania, with assistance from such minds as Karl Rotwang, Dr. Caligari and Dr. Mabuse, but the reveal of the true power behind all this is still hugely effective.
comparison. The story is very linear; not in itself a bad thing, but one that leaves it making less of an impression than others. It's a straightforward vendetta story, rather more interesting than most for being between two powerful female characters, one of whom is gloriously flawed yet majestic, the other, so far gone as to be basically inhuman. Yet, it is still straightforward. As always, Moore provides an entertaining mishmash of various fictional properties to create an alarming alternative history. Nemo and her husband, Broad Arrow Jack, enter the Berlin of Fritz Lang's



Yet there's not a great deal more to this than an adventure peppered with amusing references. That, in itself, is enough to make a fine comic book, particularly when supported by Kevin O'Niell's remarkable artwork. Yet it's less than what I've come to expect from Moore, and this series. It's a short read for those who don't read German. Moore has used foreign, and sometimes wholly fictional, languages to great effect in the past, adding verisimilitude to the work, but here it simply makes several pages impenetrable. As always, Jess Nevins is on hand to provide annotations, but such helpful supplementary material should not be essential to enjoy the work. As was the case with the earlier League volumes, the prose segment at the end provides some of the most enjoyable material, but it does not add much to the proceedings. By industry standards, this is a fine comic book, but by Moore's, it's less than expected. Moore states that there is one more standalone volume to come, followed by the fourth volume of League proper. However, I wonder if he really has much more to say with the series.

Moore to Say

As happens every few months or so, there has been a brief Alan Moore-related internet furore. An author of controversial works, with some strong and occasionally baffling opinions, Moore does engender a considerable amount of debate, into which he is generally eager to engage himself. I certainly disagree with some of his more aggressive criticisms of contemporary popular culture; while he has a point about the ongoing extension of earlier generations' characters that exist in place of modern creations, his attack on those who enjoy such retro-flavoured works grates. Especially considering that his most celebrated contributions to the comics industry, an industry that he is all to happy to attack, involve the appropriation of older characters. Of course, Moore does it rather better than most.


The recent publication of Alan Moore's biography, Magic Words by Lance Parkin, and an evening event with both men, has kicked off the latest whirl of Moore-bashing and defending. Never one to shy away from vehemently defending himself and expressing his own views, Moore responded to various attacks upon himself and his work in a long and fascinating interview with Padraig O Mealoid, which is available to read at his blog, Slovobooks. It's well worth reading, particularly Moore's thoughtful response to accusations that his work is racist or misogynist.


I'm no Moore scholar – for that level of analysis, you'll want to read the work of Parkin or Philip Sandifer – but I find myself agreeing on the major points Moore makes in terms of how I read his work. Having recently completed The League of Extraordinary Gentlemen in its entirety (thus far), I can see how someone might be put off by the seeming prevalence of rape in his work. While the rape scenes that occur in League and his other work can make me uncomfortable, I see that as rather the point. Moore's work isn't cosy reading, nor is it intended to be simple, straightforward adventure. I find his use of rape in his fiction is, as he says, a recognition of the fact that this most appalling of crimes occurs all too commonly in reality. It is uncomfortable to confront this, and that, of course, is the point. There is a world of difference between the presentation of rape in Moore's work, in which it is shown as the abhorrent act it is, its consequences explored, and the work of comics writers like Mark Millar, in whose work rape is consistently used as a form of ultra-violence, exaggerated titillation for the boys reading the books. In Millar's books, women are almost wholly portrayed as victims, there only for the benefit or use of men. Compare this to the rape of the younger Captain Nemo in League spin-off Nemo, in which the rape is shown wholly through the eyes of female character, the trauma leading to a horrific retribution at the Captain's hands.


The one instance of rape I find difficult to accept in The League is the rape of Griffin by Hyde in Volume Two. While I am gratified to see the existence of male rape addressed by an author who clearly feels strongly about the crime of the act against women, it is still played for laughs, albeit uneasy, sickly laughs. Male rape rarely appears in popular media except as a source of twisted humour, something I find utterly abhorrent. Even in real-life situations, it is dealt with as if it is somehow less serious than 'real' rape. (Take, for instance, the recent report throughout the news concerning a Russian woman who captured a man who tried to rob her shop and used him as a sex slave for several days. This was shared across social media with plenty of 'lols' and 'you go girl' comments, as if even a robbery somehow justified this kind of retributional abuse. Had the sexes been reversed, of course, the response would have been rather different.) While I recognise that women are raped far more commonly than men, male rape is a major issue with a serious social stigma attached, and using it as a grimly humorous comeuppance riles me, even if it for such an odious individual as Griffin, and perpetrated by a monster like Hyde.


Another controversial character in League is the Galley Wag, a version of the once-ubiquitous and now rarely seen Gollywog, a character consigned to the history books as an embarrassing racial caricature that today's enlightened folks would rather forget. Moore's argument is that it was never intended as a racially stereotyped character, but as an exaggerated barely-human sprite whose vague resemblance to black Africans caught on as racial tensions grew. It's convincing, but i'm not sure it really rings true; after all, whatever the origins of the Gollywog image, its contemporary reputation is well-known. Moore and his artist, O'Neill, made their Galley Wag an escaped slave from another cosmos, a clear allegory of the terrestrial slave trade, but at the same time, reconceptualised the character as an extremely powerful being from another order of creation altogether. To my mind, the Galley Wag, with his prodigious size, enormous strength and celebrated sexual prowess, represents the other side of the stereotypical black male, the aspects that repressed white men both feared in and envied their oppressed black populace. But that's my reading. Moore's intention no doubt differs, and I'm sure I'd see it differently if I, myself, were black.


A great deal of the latter half of the interview, however, sees more preoccupied with his ongoing feud with Grant Morrisson, rival magician and comic scribe. Frankly, for all the wit and eloquence with which Moore speaks on the subject, I frankly can't find it very interesting. I shall end with a searingly powerful quote from earlier in the dialogue, a point which I think is especially relevant in today's Britain:



"I understand that it may not be considered good form to suggest that class issues are as important as issues of race, gender or sexuality, despite the fact that from my own perspective they seem perhaps even more fundamental and crucially relevant. After all, while in the West after many years of arduous struggle we are now allowed to elect women, non-white people and even, surely at least in theory, people of openly alternative sexualities, I am relatively certain that we will never be allowed to elect a man or woman of any race or persuasion who is poor. "