What’s incredible–and possibly singular–about how Moore approaches Miracleman is his distance. There are moments this issue where another writer might wink at superhero comics. Moore doesn’t. Even in those moments, he’s only writing this one. More so, he’s only writing this moment, even though it’s technically a flashback.

London is destroyed, decimated. There is no happiness. Moore pulls Miracleman away from humanity even more; tellingly, Totleben doesn’t do any of his “beauty of Miracleman” panels. The visual poetry is violence and blood. Even in the small panels.

Moore caps it off with Miracleman’s final shedding of his human self, possibly through the most humane act possible. It’s so sad it makes one despondent. Not the act or event itself, but how Moore and Totleben tell it.

I think there are slow parts to the issue. Maybe too much time spent on filler. But it doesn’t matter… it’s amazing.

A 

CREDITS

Olympus, Chapter Five: Nemesis; writer, Alan Moore; artist, John Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Letitia Glozer; publisher, Eclipse.

As far as the art goes, it’s near perfect. Moore’s script (presumably with panel arrangement), Totleben’s art, it’s outstanding.

And most of the issue is excellent too. The stuff with the Moran family, the stuff with Miracleman and the other super-powered beings setting up their club… well, actually that decision is Moore’s second most questionable this issue. Miracleman, Miraclewoman, the other aliens, they set up a superhero club, something apparently all worlds with superheroes do. It feels too obvious.

The real problem is with how much abuse Moore throws at Billy Bates. He’s been being tortured by other kids for a number of issues now, always resisting the urge to turn into Kid Miracleman. Moore goes too far with it; it’s too much torture. Moore’s practically martyring the kid.

The bookends flow throughout the issue; during one recollection, Miracleman dances. It’s crazy, fantastic; easily makes up for the bumps.

A- 

CREDITS

Olympus, Chapter Four: Pantheon; writer, Alan Moore; artist, John Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Letitia Glozer; publisher, Eclipse.

It’s an awesome issue. Not just in the flashback plotting and reveals, but with how Moore structures Miracleman’s narration from the present. Even though the present day stuff is all static and all summary, Moore manages to get in an amazing finish for this issue. Moore doesn’t try to frustrate the reader with foreshadowing, he instead overwhelms.

Miracleman and Miraclewoman go to the galactic council or whatever it’s called and there’s a bunch of political stuff set to Totleben’s trippy alien designs. Miracleman often has smaller panels, so it’s impressive how much Totleben’s designs resonate even if they don’t get close-ups.

But there’s also stuff with Billy and Liz and how it will all shake out to get the story to the future bookends. Moore juggles the otherworldly and the human; he brings them together in the soft cliffhanger.

It’s an outstanding issue. Definitely the best with Totleben’s art.

A 

CREDITS

Olympus, Chapter Three: Hermes; writer, Alan Moore; artist, John Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Letitia Glozer; publisher, Eclipse.

More hints at what’s to come–both in the bookends and in the present action. Moore’s pretty slick with one of the reveals–so quiet maybe it’s a typo–but the other, revealed on the last page but suggested much earlier… Well, things might just get really dramatic here in a bit.

This issue reveals Miraclewoman’s back story. It involves the evil scientist, of course, which sadly reminds one of Chuck Austen’s terrible conclusion to that story arc. This issue continues with Totleben, who does quite well. He’s really getting the idea of Miracleman as an Adonis, not just a regular superhero.

There are the surprises, some great panels–big and tiny, Moore’s got Totleben doing these practical thumbnails with great composition–and some really odd, nice moments with the supporting cast. The insect people are interesting, but Moore’s clearly saving more for later.

Excellent comic, though it ends abruptly.

A- 

CREDITS

Olympus, Chapter Two: Aphrodite; writer, Alan Moore; artist, John Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Letitia Glozer; publisher, Eclipse.

Wow. Even with Moore’s overcooked prose–it’s from Miracleman’s memoirs–wow.

It opens five years later, with Miracleman somewhere above the Earth in a floating castle. I think (about the location, not the time).

Moore opens with these grandiose images and then brings things down again. New–and lovely–artist John Tolteben can do both fantastical and mundane with ease. The story Miracleman is telling is the continuation from the previous issue. This issue he has a run-in with the space aliens and Moore has a big reveal of a new character.

Except these are relatively small. The battle with the aliens is just a fight scene, Liz in danger is just a thriller scene. Totleben doesn’t let the visuals get too big, so as the bookends work better. He and Moore are off to a great start together.

Moore’s isn’t rigidly constrained; he might even be having fun.

A

CREDITS

Olympus, Chapter One: Cronos; writer, Alan Moore; artist, John Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Cat Yronwode; publisher, Eclipse.