’24th August, Thursday – My Taxi to Heathrow arrives driven by comics’s answer to Robert de Niro, Jamie Delano, who combines scripting ‘Nightraven’ and ‘Captain Britain’ with taxi work. Phyllis and the children Amber and Leah make a brave attempt at concealing the turbulent emotions aroused in them by my departure, but I can tell they are secretly heartbroken. My flight is a seven hour sneak preview of purgatory. I read Alexei Sayle’s ‘Train to Hell’ from cover to cover. I’m sitting in the central aisle and I can’t see out of the window. What’s the point of flying if you can’t see how many thousands of feet you’ve got to fall shrieking to your death?’

Since “The Walking Dead” debuted, zombies have become something of a cultural meme and have seen resurgence in virtually all forms of entertainment media, and Kirkman thinks they’re here to stay. “I think zombies have risen to the level of vampires and werewolves and will always be a staple of popular fiction — with highs and lows like vampires and werewolves experience — but I think they’ll always be around in some form or another and I honestly wouldn’t have it any other way.”

Many fans had come to like the character better dead than alive after he was disintegrated saving the universe.

“That’s the point of comics – they don’t have to die, because they’re fictional creations,” said Grant Morrison, one of the writers behind the comeback.

“We can do anything with them, and we can make them come back and make them defy death,” Morrison said. “And that’s why people read comics, to get away from the way life works, which is quite cruel and unheroic and ends in death.”

The tangled history of Miracleman—from its origins as a British derivation of the 1940s Captain Marvel character to its current status as the source of a seemingly bottomless legal quagmire—is a Primer unto itself. Moore’s run on the title stretched from its 1982 revival as a feature in Warrior through 16 issues. It begins with the middle-aged Micky Moran remembering he has the ability to transform into a superhero with the use of a magic word, and it ends with Moran’s alter ego becoming a god on earth. In between, Moore teases out the troubling implications always present in the genre. What do these power fantasies mean, and, if left unchecked, where would they take us? Can the gulf between humanity and superhumanity ever be closed? “His emotions are so pure,” Moran tells his wife early in the run, “when he loves you it’s gigantic. His love is so strong and clean… When I love you it’s all tangled up with who’s not doing their share of the washing up and twisted neurotic things like that.” By the end of Moore’s story, the part of Moran that asks such questions is gone.