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Is Grant Morrison’s Zenith going to return?

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At last weekend’s C2E2 the Rebellion/2000 AD crowd was out and represented by marketing man about town Michael Molcher. Snapping a pic of him and his fellow boothworkers you could not help but notice that they were wearing T-shirs baring the logo of Zenith, which is, after Marvelman, perhaps the greatest “lost” superhero of UK comics. Created by Grant Morrison and Steve Yeowell, with original character designs by Brendan McCarthy , it first appeared in in 2000 AD #535 in August 1987, and ran for four story arcs, or ‘phases,’ which finished up in 2000 AD #805 in October 1992. It ran in about 80 issues of the comic; the first three phases were collected in five volumes by Titan Books between 1988 and 1990. Phase Four has never been reprinted.

The Strange Case of Grant Morrison and Alan Moore, As Told By Grant Morrison

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Photo Used in Drivel Column

by Laura Sneddon–Over the last few weeks, my good friend Pádraig Ó Méalóid has been writing a series of articles about Alan Moore and Superfolks, which became an edgeways look at the long running friction between Moore and fellow writer, Grant Morrison. While Moore has previously spoken out about his thoughts on Morrison in various interviews, Morrison has generally kept quiet on the issue. There have been occasional barbs of course, and plenty of praise, but very little on the actual facts of the matter.

Good Work, Comics: Boy Bands and Shadow Edition

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It’s getting tougher all the time, as Paul McCartney would’ve likely sung if the Beatles had reunited for a jaded comeback tour in the 1990s. All you want in life is for Stephanie Brown to get just one bit of respect, but time and time again your dreams are shatteringly recoloured at the last moment. And […]

Alan Moore and Superfolks Part 1: The Case for the Prosecution

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In 1977 Dial Press of New York published Robert Mayer’s first novel, Superfolks. It was, amongst other things, a story of a middle-aged man coming to terms with his life, an enormous collection of 1970s pop-culture references, some now lost to the mists of time, and a satire on certain aspects of the comic superhero, but would probably be largely unheard of these days if it wasn’t for the fact that it is regularly mentioned for its supposed influence on a young Alan Moore and his work, particularly on Watchmen, Marvelman, and his Superman story, Whatever Happened to the Man of Tomorrow? There’s also a suggestion that it had an influence on his proposal to DC Comics for the unpublished cross-company ‘event,’ Twilight of the Superheroes. But who’s saying these things, what are they saying, and is any of it actually true?