Miracleman was launched 30 years ago in the now-legendary Warrior magazine. It turned the concept of “super-hero” on its ear with big ideas that helped redefine an entire genre… when Miracleman fought Kid Miracleman on the streets of London… well, things would never be the same.
And then there was the art.
Miracle Man had a true knack for bringing out the best work from extraordinary artists. Starting with co-creator Garry Leach, followed by Alan Davis (and others) and finishing with one of the most amazing endings in comics history by the phenomenal John Totleben, Miracle Man was a work of art painted on a grand canvas, unlike anything before or since.
- IDW Publishing, November 04, 2015
- ISBN: 978-1-63140-392-7
- 15″ x 20″, 144 pages
- $125 USD Suggested
- Order Online: eBay, AbeBooks
As with all AE format material (Artist’s Editions, Artifact Editions, Gallery Editions, Art Editions, Studio Editions, etc.), this is a collection of classic comic material and I’ll be reviewing the book and not the story. For a complete list of all current and announced editions, with review links, please visit our Index. Also, see What is an Artist’s Edition and our Artist Index.
This is a massive undertaking, collecting what available pages there are from Warrior issue 2 to Miracleman issue 16, spanning seven years from 1982 to 1989.
The book is organized chronologically, with three issue sections and a gallery section. It’s a real mixture of artists, styles and contents. The big pages are here: the birth page, the rape page, the mass-murder page.
Page sizes vary as well, with the book’s 15″ by 20″ dimensions fitting the largest and working down with larger margins, as in the Steranko volume.
There are no complete issues, which is to be expected with an Artifact Edition. Reading along with jog your memory of the original issues or inspire you to pick up the latest collections. Or not.
Fifteen people are thanked so it’s safe to assume at least that many sources. Yellowing and aging run the gamut here, with pristine whites to dark tanned.
All the pages are cleanly scanned and highly readable, except for two pages from issue 16 that are blurry. Blacks are well represented on most pages, with ink variances mostly visible. Lots of page notes, pasted word panels and production detritus to appease original art fans.
Wonderful production: heavy archival paper, sewn binding. Book, without shrink wrapping, shipped in standard cardboard case with colour sticker. The binding is tight with most pages lying flat.
Subtle design from Dahlk this time around with a pronounced effect. Blue and black for the endpapers and chapter dividers, featured images fading into the background behind crisp yellow lettering. Then the dramatic figure in ink and ivory. Great stuff.
It’s worth noting this is the only Artist’s Edition format book to carry a warning label.