What I thought of The Flash #21

When watching a car crash it’s said to happen in slow motion. Well, it doesn’t and DC’s attempt to integrate Alan Moore and Dave Gibbons Watchmen into the DC Universe and blame it for all of DC’s fuckups continues from the last issue of Batman to the latest issue of The Flash. To be fair the issue starts well as being a fan of the Justice Society of America it is nice to see Johnny Thunder at the start of this issue.

However the issue picks up from Batman #21 with Barry Allen finding not just Batman having had the living shite beaten out of him by the Reverse Flash, but the corpse of the Reverse Flash.

This isn’t actually bad superhero comics. Barry Allen is a bit too draped in misery to be the Barry Allen I grew up with but this is all decent, even passable stuff. It just feels a tad forced but there is a nice scene between Barry and Bruce Wayne which allows both characters to breathe a bit.

During this chat Bruce reveals to Barry he saw his father in a vision.

It seems also that the Comedian’s badge from Watchmen didn’t return with the Reverse Flash,not to mention Barry’s been having visions of Jay Garrick’s helmet.

In this reality Jay Garrick (the original Golden Age Flash) never existed, but yet Barry can’t stop thinking about his helmet and how it makes him feel. There’s a suggestion a lot of things from the pre New 52 era of DC is about to make their return, and indeed, when Barry goes to the JLA’s Watchtower there’s clearly been some tweaking going on.

After some faffing around The Flash and Batman go off in search of the Comedian’s badge, or to be exact, where it came from. To do that Barry digs out the Cosmic Treadmill which takes him and Batman though time and space.

What they see are all the missing out of continuity stories DC decided to dump for one reason or another.

Barry and Bruce end up back in the Flashpoint universe with Bruce’s father who is the Batman of this universe. Confused? Of course you are if you’ve not got any idea of the history of DC Comics. and frankly, it’d have been easier to just reboot DC’s superhero titles from the start but being attached to continuity means this complex bollocks.

Still, it seems that DC are heading towards at least making things more accessible unlike Marvel who are stuck in a mess of their own making. Still, two more parts of this story arc to go and we might just be nearer that Batman-Rorschach team-up people have been wanking themselves into a frenzy for.

What I thought of Batman #21

The ongoing car-crash that is DC’s Rebirth (DC’s attempt to integrate Alan Moore and Dave Gibbons Watchmen into the mainstream DC Universe and blame it for everything ‘dark’) continues with Batman #21, a comic that makes the Watchmen link very, very obvious from the off.

That’s Saturn Girl of the Legion of Superheroes who has been locked up in Arkham Asylum since the Rebirth reboot started.She’s a telepath from the future so has knowledge of the 21st century and can read minds, so she knows (we think) what’s coming. As for the reader what’s coming is a bloody unsubtle reminder of what DC are doing with Watchmen.

Yeah, that isn’t subtle. Neither are the pages on 9-panel grids as Batman watches the same hockey game Saturn Girl was, which also adds as a meta-commentary on the nature and voyeurism of violence in comics. Of course Watchmen had very little violence in it, though what their was was either repulsive or there to make a point about the nature of violence in comics was never reflective of the nature of violence in reality. Here the point seems to be muddled, not to mention blaming Watchmen for the violence in comics after its publication.

A brush with the Psycho Pirate’s mask sees Bruce Wayne encounter his father, the Batman of Flashpoint.

Bringing the Flashpoint Batman back for a glimpse reminds us of The New 52,one of  DC’s previous attempt to reboot its universe in a ‘gritty’ way. it’s also blamed for generally poor sales and the company struggling before leading to Rebirth last year.Anyhow, after contacting The Flash, Batman ends up in a fight with the Reverse-Flash as it’s hinted that a ‘power’ (Dr. Manhattan?) brought him back from the dead.

So we get a few pages of Thawne beating up Batman (MORE VIOLENCE!!) before Thawne finally wins thanks to The Flash being late. Picking up the Comedian’s badge does this to Thawne…

That does look like a Dr. Manhattan style ”BZZT’ there. Unfortunately for Thawne he comes back a tad worse for wear.

The story picks up in The Flash #21 due out next week but it’s clear DC are pushing on with the integration of Moore and Gibbons work into the DC Universe even if its clear they don’t seem to really have got or understood Watchmen, or what Moore and Giibbons were doing with their work. I don’t blame writer Tom King as he actually does a pretty good job in working with a shitty stick to create a pretty reasonable superhero tale, but the entire idea seems seedy.

I don’t think the higher-ups of DC get how integrating Watchmen changes the meaning of it, but they are counting the praise for that work rubs off on titles like this. It’s a bit like the Fearless Girl statue in New York and the controversy around that. This is just simply another example of late capitalism of course, but as a sales tactic it’ll work as already on Ebay issues of Batman #21 are being advertised at stupidly high prices.

So I’ll take a hit for the team and carry on to the next part in The Flash to see what happens next…

40 years of 2000AD

2000AD is 40 this year. Recently there was a convention celebrating the comic and those who created it and still produce work for it. Thankfully for those unable to attend the convention panels were put online and one (The Originals) stood out for me as it featured not just Mick McMahon and Dave Gibbons who were there at the very start, but Alan Grant and Cam Kennedy who came along not long after.

It’s a cracking bit of viewing and a bit of comics history. Enjoy.

 

 

What I thought of Batman #9

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DC’s Rebirth cranks onwards towards the depressing Batman versus Rorschach battle which is coming as this two year (!) event rides towards Alan Moore and Dave Gibbons book, Watchmen, becoming part of the mainstream DC superhero universe. We’re not going to have any resolution to the various plot threads til 2018 which even by DC or Marvel standards, is an astonishing crossover.

I’ve found the Rebirth even to be at the very, very best patchy. At worst insultingly cynical with comics of such poor standard that I wonder if there’s anyone at DC who knows how to edit or write, comics. As for imagination there’s a dearth of that as DC continues to look back and give you the past repackaged rather than present a new vision for the future. This brings me to Batman, currently written by Tom King who is by no means a bad writer. In fact, for mainstream superhero comics he’s quite good. This latest arc, I Am Suicide, is based round Batman recruiting his own Suicide Squad to break into Arkham Asylum where dark things are afoot involving Bane and the Psycho Pirate.

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Batman recruits his team from the criminals of Arkham, which includes old enemies like the Ventriloquist.

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There’s also a massive hint for the return of the Legion of Super Heroes.

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This Batman is a sociopath filling Arkham with the criminally insane while being utterly unaccountable to anyone for his actions. His moral compass is essentially, fucked, as in trying to protect the city of Gotham, he’s creating the conditions for such mentally ill criminals to exist and thrive.

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There’s the odd allusion to The Killing Joke yet King doesn’t explore the connotations of what he’s putting on the page. This is a Batman willing to break the law, any law, to get what he wants and he’ll threaten anyone he likes, and use the criminals he wants to get it. Now King may well explore this in future but in the supposed bright new DC Rebirth Universe you’ve got a neo-fascist Batman who as a billionaire, can do what he likes. The democratic implications alone should mean that if the DC Universe is supposed to be like ours, then Batman should be locked away so he pays for what he’s done.

As said though, that moral exploration doesn’t happen. It’s just Batman walking through Arkham putting together a team of which we’ll find out more about next issue, but I do hope King realises just what he’s doing here and it doesn’t end up being a pallid rehash of what’s come before.

Still, bet we can’t wait for Batman vs Rorschach, assuming the concept doesn’t make you cry and despair of course?

What I thought of Titans: Rebirth #1

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The Teen Titans, or Titans are BACK!!! Sit down, control that excitement for a second as DC’s Rebirth even trundles on as it absorbs Alan Moore and Dave Gibbons Watchmen into the regular DC Universe in an event that won’t be matched until the next big DC event. This issue by writer Dan Abnett and artist Brett Booth picks up the story of Kid Flash readjusting to the world after returning in DC Universe: Rebirth #1. 

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Wally West is being slowly remembered by those he meets and fight scenes erupt in this superhero-by-numbers tale from Dan Abnett, who at one time, was a decent writer, but anyhow, after some fairly dull pages of people fighting, Wally gets the rest of the Titans to remember him because of the Speed Force, something now used by writers to get themselves out of any hole they need.titansrebirth2

Wally explains to his mates that someone stole a decade of their lives, and the others suggest a Mister Twister as the culprit even though he sounds like a sexual deviant as opposed to a cosmic villain.

So Wally explains the person that stole ten years of his life is coming back to do it again and after talking for ages in some exceptionally average pages of art they decide to take the fight to them, but we know it’s Dr Manhattan from Watchmen, The one thing that becomes clear here is that DC are building up to a Big Revelation not to mention the horror of a Big Fight against Dr Manhattan is looming and that’d be horrendous.

Titans: Rebirth is a thin read. It’s an introduction to a new series that may or may not be fun, but the entire thing is just dull. It really is corporate superhero comics by numbers with no joy. Yes, there’s love for the characters there but its all so boring. This ultimately is just another cog in the wheel and it shows.

People finally realise that fandom is a bunch of sad, entitled dickheads

After the last week’s frankly insane stuff in the aftermath of the ”Captain America is a Hydra agent and therefore a NAZI!!!!!!’ stuff in the last week, along come two good online articles about the state fandom’s gotten itself into.

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That one page has caused so much pain and outrage in superhero comic fans since, oh, the last time either Marvel or DC did something like this with one of their characters. Now as said by many including myself, this isn’t going to be forever as it’ll be sorted out before the next Avengers film, nor does it make writer Nick Spencer a bastard for turning Cap into a Nazi because Hydra in the comics has never been equivalent to the Nazis. Nor is it anti-Semitic, nor does it shite on the memory of creators Joe Simon and Jack Kirby because it is what it is; a shocking plot twist that’s designed to sell comics and create buzz. Somewhat successfully it seems but that doesn’t stop the death threats, book burnings and hyberbolic fan entitlement on social media.

Thankfully a couple of very good articles have emerged from the piles of vomit that fans have thrown up online over the last week. The first is by Jesse Hassenger at The A.V Club and it’s an excellent read. Hassenger makes some excellent points from the off:

It’s probably safe to say that James Rolfe does not consider himself a sexist. Rolfe, apparently better known as the “Angry Video Game Nerd,” has bravely crossed over from the world of video game crit into a broader discussion about movies via his internet-famous video wherein he announces his intentions to not see or, as such, review the upcoming remake of the 1984 film Ghostbusters. For many people, the decision not to see a particular film does not require a lengthy video announcing that intention (if it did, just imagine how many minutes of internet video would have been dedicated to Norm Of The North). But the 2016 version ofGhostbusters is different.

I don’t mind Rolfe, I even find his material funny and he clearly loves his stuff, but releasing this video….

Just makes him a bit of a sadcase. I don’t care if he’s not going to see the new Ghostbusters because it’s not going to match for him the heights of the original, or even it’s pretty dreadful sequel. I do think though that video reeks of entitlement and smugness. There’s got to be hundreds of films Rolfe isn’t going to see in a year yet this one merits it’s own video which gives an excuse for the thousands of misogynist complainers about the new Ghostbusters to mask their bitter hatred.

Now I’m not saying the new film is going to be good. I have no idea as I’ll probably not bother with it as big budget Hollywood films interest me less and less these days, but it may find an audience. It’s a talented cast so why can’t it work? Why cut off what may be something that gives new life to something you love and brings new people in to search out the source material unless you’re a tediously entitled fan or in this case, a sexist who can’t stand women being cast with the same importance as men.

Another point made by Hassenger is this:

Fans so hardcore they become irrational are hardly a new phenomenon, but they have more access to each other than ever. This is partially because of the internet, but it may also have to do with the galvanizing effects of major pop-cultural events like, say, adaptations of the Harry Potter books back in the early ’00s.

The internet has certainly made things worse, as has an anti-intellectualism and misplaced ownership of things people think they own, but the lunatic reaction to something has been going on for years. As one example take Marvel killing off Spider-Man’s then girlfriend Gwen Stacy in Amazing Spider-Man #121.

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Gwen was killed off because it was a shock and dramatically, there was nothing else to do with her character as if she’d lived she’d have married Peter Parker followed by domestic bliss and that’s no fun for a superhero like Spidey who lives on angst, guilt and self-doubt. Writer Gerry Conway got death threats which back in 1973 wasn’t as easy as opening up your laptop or turning on your phone. You had to get a pen, paper and then write out your threats before sticking your letter in an envelope and sending it to Marvel or Conway so you’d let them know how much of a lunatic you are.

Yet here’s the lesson. Within a couple of years Gwen’s death had stopped being so controversial. Peter and Mary Jane Watson become an item and their spiky relationship provided writers with the soap opera dramatics superhero comics need which was the point. Same thing is going to happen with Captain America or Ghostbusters. In a few years, months even, people will move on and the wailing sounds of the entitled will be drowned out by the next thing these people will find to batter to an inch of it’s life because it’s not 100% as they want it.

Or….

Of course, the things fans are actually entitled to are their own opinions and feelings, even petty or deeply stupid ones. But it’s more than a little depressing when passionate fandom and fan glorification allows anyone to become convinced that resistance to a Ghostbusters remake is a principled stand rather than sexist whining.

Nuff said.

The second good piece comes from BirthDeathMovies.com (a shite name for a site, but the piece is solid) and writer Devin Faraci whose previous piece I dismissed in my essay on DC Universe: Rebirth and the news DC were introducing Alan Moore and Dave Gibbons Watchmen into the DCU proper. This one makes some of the same points as the previous one, but it’s still worth reading as the last week has seen a level of crazy, entitled bullshit I’ve not seen since Doctor Octopus became Spider-Man…

There’s one point that Faraci makes which is worth exploring;

I had an argument with a younger fan on Twitter recently and she told me that what she wants out of a Captain America story is to see Steve Rogers be happy and get whatever he wants – ie, the exact opposite of what you want from good drama), but while the details change the general attitude is the same: this is what I want out of these stories, and if you don’t give it to me you’re anti-Semitic/ripping off the consumer/a dead man.

Fans want stories they want to read or see. Forget the fact they may be a small minority and in giving into their demands companies like Marvel or DC end up damaging their brand name as they’ve done oh so often over the last decade especially.

But this is the problem. Having worked in comics in some shape or form on and off for over 30 years I’ve seen fan entitlement first hand more times than I can remember, and I’ve also seen fans who think they’re The Next Big Thing being crushed after being told that, actually, you’re not very good. you can see this sort of thing happen in the patchy Morgan Spurlock documentary, Comic Con Episode IV: A Fan’s Hope as prospective comic artist Skip Harvey suddenly comes to terms that he’s not as good as he thinks he is. Part of the reason for that is the culture of ‘you can do anything should you want it enough‘ that we’ve seen spring up on both sides of the Atlantic, that’s resulted in an increase in the anti-intelllectualism that’s been part of American culture for generations that now seeps into British culture to the point where actual genuine idiots like Nigel Farage or Boris Johnson are considered to have opinions worth listening to.

Faraci says:

It’s been interesting watching so many people bring up Joe Simon and Jack Kirby in the Captain America fracas; one of part of it is that their Jewishness allows angry, petulant fans to throw down a social justice bomb but it also speaks to how modern fans see many modern creators. They’re nobody compared to the ones who invented this stuff. The modern creator is the server, and they should be going back into the kitchen and bringing back a Captain America cooked to their exact specifications, and without any sort of complications or surprises. This is what fans have always wanted, but the idea of being consumers – people who are offering money for services rendered – only reinforces the entitlement.

Which is true. We live in an extreme consumerist society where we’re conditioned to consume from an early age, and ”Geek Culture” is an example of that where fans who will love a character, video game, film, etc will lavishly love that film to the point where it becomes almost religious in their defence of the sanctity of that character. Yet many of these people leaping to the defence of the now dead Simon and Kirby are also the same people that leapt to the defence of Marvel Comics when the Kirby heirs  were fighting to give Jack Kirby the credit he deserved for creating most of the Marvel Universe. The fear many of these people voiced was that the Kirby’s would ‘take their characters away’ and the consumerist defence of Marvel Comics was rife. After all the fear of losing their monthly fix outweighed any sense of right or justice for the man who created their beloved characters in the first place.

I don’t propose any solution because right now there isn’t one. However calling the likes of Rolfe out for annoyingly announcing he’ll never see one film or those weeping and wailing over a plot twist in a Captain America comic is a start. Calling out the hyperbole and hysteria is a start. Calling out fans for not protesting things that matter like creator’s right, even if that creator is dead, is a start. Actually discussing things at an intellectual level above toilet graffiti is a start. Addressing the issues of ‘Geek Culture’ (a term I so many issues with but that’s for another time) is a start.

Making debate better, and more informed is a way forward because once you do that the crazy types look even crazier and obsessed. Not letting silly wee boycotts or Twitter hashtags replace actual proper debate helps too. As said, there’s no easy solution to it but while people sit back and tolerate, or worse, encourage the nutters things aren’t going to get better.

Some of the reactions to DC Universe: Rebirth and Nazi Captain America is depressing

Yesterday saw the release of two comics. Yet another Captain America #1 and DC Universe: Rebirth #1, the latter I’ve handled with care in a lengthy blog yesterday. today sees the fallout around both comics start to congeal like fat  on a plate of a cheap full English breakfast.

For those people who missed it, or don’t especially care the jist is this. Captain America is and always has been, a Hydra agent and in the Marvel Universe that basically makes him a Nazi.

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This is of course disgusting and Marvel would never have made Cap a Nazi at all in the past.

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Oh.

This is of course a sales gimmick to get people talking about Captain America and as such, it’s hugely successful. It’ll also be overturned by no later than the release of the next Avengers film in a couple of years as the Red Skull or someone will have done something with the Cosmic Cube, or something and the status quo will return.

The problem is that writer Nick Spencer seems to have just pulled this out of thin air (having not read Captain America regularly since Roger Stern and John Byrne were the creative team I can’t say) but a better idea surely if Spencer and Marvel wanted to explore a right wing Cap would be for him to slowly become less trusting of democratic institutions, more libertarian til A Big Event pushes him to become more and more right wing. He’d still do heroic stuff but rather than being an American liberal’s caricature of a conservative , he’d be something more nuanced so Spencer really could explore what’s happening with the likes of Donald Trump than bluntly just make Cap a Nazi which is like taking a sledgehammer to a peanut?

Moving aside from my fanfic, what’s interesting to me is the reaction. It simply veers from informed comment to the insane where Spencer is receiving death threats, something no writer should have to deal with. In 18 months to two years this will be gone and forgotten like all the thousands of superhero comic plot twists have after they’ve caused people’s knickers to get into a twist. But for fuck’s sake don’t threaten to kill someone because they’ve done something to a fictional character you love, that’s insane!

As for DC Comics they released DC Universe: Rebirth  #1 which incorporated Alan Moore and Dave Gibbons Watchmen into the DC Universe.

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I’ll be totally upfront for those unfamiliar with my blogs. I’m an Alan Moore fanboy that prays to a statue I made out of potatoes of him every night. He is my god!

Not really, he’s by far my favourite comics writer, but I’ve admitted his flaws and readily admit when he’s wrong, but I’m not going to send Geoff Johns or Dan Didio a death threat because they’ve done themselves a shite and called it a comic. I’ll criticise it and rip the piss out of it because that’s better than getting angry over something which actually proves Moore’s point he made around the time of DC’s Blackest Night event, also written by Geoff Johns..

The comics that I read as a kid that inspired me were full of ideas. They didn’t need some upstart from England to come over there and tell them how to do comics. They’d got plenty of ideas of their own. But these days, I increasingly get a sense of the comics industry going through my trashcan like raccoons in the dead of the night.

That comment that so outraged fans and some professionals at the time has now had the truth firmly rammed home because if DC are going back to mine Watchmen (which they are) then there’s a clear lack of creativity here that should be indefensible as with the Captain America stunt, it’s a sign that they’re running out of ideas.It’s something that should get fans rallying for a more creative, more intelligent form of superhero comic and many are, but there’s still those clinging onto the faith that DC will be right in the same way dogshit sticks to your boot.

One of those people is Anghus Houvouras. A man who bravely stood up for white people being represented on film and rallied against political correctness. At this point when people talk about ‘political correctness’ this Stewart Lee clip has to be brought in…

Anyhow, our Anghus did write himself a piece which sums up the argument of those defending DC entitled Why Alan Moore is wrong about The Watchmen. That’s right, The Watchmen, not Watchmen. From there it gets worse.

As a writer, I love Alan Moore. He is, without question, one of the most talented writers to ever grace the la bande dessinée.

The only thing anyone can sanely reply to this is ‘fuck off’.  However let’s dig our hands in deeper for a wee bit…

At some point Alan Moore became the comic book equivalent of the Old Man on his front porch shaking his fist at the machinations of the ever evolving comic industry.

This is of course bullshit. It makes it easier to disregard Moore’s often sharp comments on the American comic industry than deal with the comments themselves. Also, seeing as Moore only works for Avatar being allowed I believe the freedom to do what he likes rather than writing superheroes which he’s not done in some time then he’s every right to comment upon something he’s such a major part of. His shadow is after all cast over DC’s big event for 2016.

Trying to devalue his comments by making him a ‘crazy old man’ is frankly, a cunt’s trick. Play the ball, not the man.

And there are things that Old Man Moore has been absolutely right about.

Patronising arseholery doesn’t help.

The League of Extraordinary Gentlemen is a series of stories based on preexisting characters that Moore himself had no hand in creating. If Moore believes that Hollywood studios are lazy for taking his concepts and adapting them to film and television, isn’t it just as accurate to call Moore lazy for using borrowed characters for his own comics?

To call Moore lazy is in itself a lazy assumption. Moore’s put a lot of thought into using the public domain characters that make up the core of the League. The ones that aren’t are changed to keep them legal or so clearly parody they’d not be a case against Moore, or artist Kevin O’Neill.

And our Anghus misses the point. Moore’s point is that he as creator or co-creator deserves to decide what to do with his work, not multinationals so bereft of imagination that they mine 30 year old works in order to make money in 2016 because they know the name ‘Alan Moore’ attached to a comic will help sell it. Even obliquely in the case of DC Universe: Rebirth. That’s what Moore meat with his the comics industry going through my trashcan like raccoons in the dead of the night comment.

When DC rolled out the Before Watchmen prequel series, many fans were perplexed by how to feel.Watchmen has always been treated as sacrosanct. One of those singular works of artistic perfection that should never be expanded upon. A story told completely and not in need of embellishment. And while fans and Moore are quite clear on their position on the subject, there are those of us who are actually excited by the prospect to see more stories with these characters

Why? That story was told. Everything you need to know about those characters is in Watchmen. Can you imagine if DC had published Art Speigleman’s Maus? Would there be a demand for new stories of L’il Artie? Or something like The New Adventures of Vladek where Speigelman’s father is brought back from the dead to fight Nazis in 2016? A complete work is just that. It’s done, it’s there but let’s move on to something new rather than trying to capture something with the same characters you’ll never capture again.

Alan Moore is wrong about The Watchmen.

There’s no ‘The’ here.

The original Watchmen series was based on the Charlton Comics characters that DC had acquired in 1983 which included Blue Beetle, The Question, and Captain Atom. Originally Moore wanted to use these characters for the Watchmen series, but because they were being integrated into the regular DC Comics Universe, Moore and artist Dave Gibbons decided to created thinly veiled versions of these characters. While the names may have changed, it borrowed heavily from the iconography of many DC owned characters. That was always the intention: to create a more mature story in a familiar world. Mission accomplished.

What’s missed out here is the fact Moore initially had the idea using The Mighty Crusaders, but as the story evolved he ended up creating new characters with artist Dave Gibbons who were archetypes of superheroes who could serve the purpose of the story.

Where Moore errs is thinking that these characters should stop existing outside of the originalWatchmen series.

Trying marketing something with an existing name. Why do Coca Cola guard their property so much? It’s because it has value to them and those trying to piggy back off it are trying to buy into that value for their own gain as Richard Branson tried to do with his Virgin Cola, yet even Branson learned the lesson that the bigger beast in business will crush you. Same thing is true of DC using Watchmen without Moore or Gibbons permission, and yes, they did sign what was proclaimed a great contract at the time but as as both admit, they were stupid. It doesn’t make the points Moore’s made about exploitation of creators and creator rights any less valid.

I’m not here to throw stones,

Says Anghus, throwing stones everywhere til one eventually lands on his head.

I suppose the core argument from fans would be that further uses of the characters diminishes the original work in some way. That’s another argument I never could take seriously. The Dark Knight Returns was an amazing series. The Dark Knight Strikes Again was a hot mess. The jury is still out onDark Knight III. None of these average works have lessened the impact of the original. Much like the two flaccid Matrix sequels didn’t end up sullying the majesty of the original. Caddyshack is still hilarious no matter how terrible Caddyshack 2 turned out.

Ah, The Matrix (which ”borrowed” from Grant Morrison’s The Invisibles) and Caddyshack, giants of cinema.  But sad cash-in’s don’t diminish the original, they just make it clear there’s a paucity of creativity as companies chase money in the hope they might recapture what they had, again one of the points Moore has made over the decades.

The point is, it’s kind of nutty for Moore to think that these characters should stop existing

They’re not real. They only exist in the medium they were created for and by their creators. Plus Moore’s never said that, he just wants control of his work.

Only time will tell if it’s a good use of the characters or a pointless cash grab.

Took me 0.2 seconds to work out it’s a cash grab.

When it comes to the subject of originality in regards to Watchmen and The League of Extraordinary Gentlemen, Moore has a little too much glass in his house to be chucking stones.

For the nTh time. Moore’s issue is creative ownership and control. Listen to his words.

It’s not hard in the year 2016 to find out exactly what Moore thinks about creator rights or that Marvel have pulled cheap stunts to sell comics once or 300 times before. Yet people still get angry or fill a swimming pool full of pish as they repeat what they’ve read other people say in order to get clicks. It’s a total nonsense yet the real problems of mainstream superhero comics sail on and on with an imploding readership and a creative community either scared to create new works in case they’re exploited to the hilt as Moore has been, or they end up being so devoid of imagination they make Captain America a Nazi.

What people like Moore want to see is better comics with creators treated like people who end up with control of their work. It shouldn’t be a battle, and fans should slavishly leap to the defence of multinationals because all they care about is ‘their characters’.  Here’s a bit of news, if you do then that makes you part of the problem, not the solution.