You mean Captain Britain? Might be, although I think Moore applied all the powers from the staff into the suit.

Oh yes, here's the part where Byrne gave his opinion about Moore's work...

http://groups.google.com/groups?q=g:th l...1]Google Search

BYRNE: "To me, Alan's stuff is a lot like the Judge Dredd movie. If you could
turn off the part of your brain that knew anything at all about Judge
Dredd, it was really a pretty fun ride, and even had some memorable moments, largely courtesy of Max von Sydow. However, if you went in
expecting Judge Dredd, you would have been sorely disappointed. So
too with Moore's writing. What he did with Swamp Thing was very
interesting, even fascinating in places.

"But was it "really" Swamp Thing? No. Nor was that really Superman in
"Whatever Happened to...", or Batman in "The Killing Joke". And so I
come to that brick wall I always slam into when a writer takes an
existing character and changes him or her in to a different character
"in order to tell good stories". Why not tell good stories with the
character as is?"

DOH! Yes, that's who I meant.

Kommando XXX wrote:



So to the only proper way to examine the past is to just concentrate on the positive and totally ignore the negative aspects of that time period? Interesting.



I'd be curious what JB feels are the true portrayals of such characters, other than the versions he wrote.

Well, John Byrne is partly right.

There is no way, shape or form fashion that the entirety of Moore's '1963' was meant as mere tribute to 60's Marvel -- part of it was also meant to be satire as well as a thoughtful homage. The Bullpen satires so solidly mocked Marvel's hucksterism, fanboyish slavering, bravado and overuse of alliteration I couldn't help but laugh. That pointed skewering was primarily pointed at the editorial management of 60's Marvel and their treatment of certain creators, incidentally -- not the characters.

Actually I have only been to the Byrne board once and read nothing about Morrison there, ( Never assume, my friend.) If I was wrong about Morrison's attitude towards superheroes than it is my error. I bow to your superior knowledge on the point.

How did Byrne get injected into this discussion? Might as well bring Liefeld along for good measure.

Anyway, my 2 cents is that Moore and Morrison are both pretty pretentious, but I like their pretentions in their writing and loathe them in their public statements. It just cements the feelings Ive had recently about not wanting to read interviews with my favorite comic book writers, in general.

Didn't Morrison write Marvel Boy?

And wasn't it a mini-me clone of Marvel/Miracle Man?

Samnoir: what issues of crisis were the ones in which new adventures of hitler was serialized? I got the motivation and patience to hunt them down on my own.

FYI, from my direct experience with Alan, Rich Johnston's suggestion of events is closest to the truth (as I experienced it, mind you). The first reference I recall Alan making during a phone conversation to Grant was over his concern with some negative comments about WATCHMEN Grant apparently made at either a UK con or in a UK fanzine, claiming creative theft.

The only other time I recall Alan referring to Grant directly was around the time of TABOO 4's publication, expressing dismay at Grant publicly stating (again, I can't recall if it was in print or on a con panel) that FROM HELL was 'stolen' from other sources, and Alan's incredulity at such a statement given the multitude of sources Alan was clearly working from for research, and which Alan had publicly acknowledged a number of times. This prompted my suggestion that "we" (in TABOO) dedicate space to footnoting FROM HELL, and I used as an example Tim Truman's then-recent graphic novel WILDERNESS, which I thought was greatly enriched by Tim's footnotes. Alan heard me out, thought about it, and with the next phone conversation agreed it was a fine idea, though he was concerned about the number of pages such an endeavor would require in TABOO. That wasn't an issue as far as I was concerned, and so we decided to go ahead with it. In the meantime, Tundra proposed to Alan and Eddie Campbell the 'collected FROM HELL' volumes; Paul came to me asking if Tundra could use the footnotes as something unique to their collections, and I (already seeing the writing on the wall as to TABOO's future) agreed to NOT run footnotes with TABOO's continuing installments of FROM HELL.

Subsequently, one of the producers of the FROM HELL movie stated in at least three sources (interviews and his book) that it was the footnotes that made FROM HELL a coherent reading experience to him, prompting their pursuit of the option on the graphic novel that indeed yielded the film adaptation. So, in an odd way, one could argue that it was Grant's negative comments that led to the FROM HELL film being made at all!

Anyhoot, those two references were all I recall Alan ever making directly to Grant, and they were both around 1990, and both expressed his upset with Grant having 'dissed' Alan's work in public. That may indeed be the source of the rift -- but who knows.