Originally created by Mick Anglo and published by L. Miller & Son, Ltd. as Marvelman between 1954 and 1963, the character was revived in 1982 for a revisionist story written by Alan Moore, beginning in the pages of British anthology Warrior.

[2] Anglo initially handled the strip himself while it was shaped before involving other artists from his studio, including Don Lawrence, Ron Embleton and Denis Gifford, who would all go on to have successful careers in the industry.

[9]Some years later as a budding writer with credits for 2000AD and Doctor Who Monthly under his belt, Moore mentioned this in an interview with David Lloyd for The Society for Strip Journalists, a small press British comics industry publication.

[8] Skinn recalled he had baulked at the idea of having the two most prominent superhero strips in the country sharing creative teams but relented,[4] and the first 'book' ("A Dream of Flying") concluded after 10 chapters in Warrior #11.

Warrior meanwhile had attracted good notices, including major recognition at the Eagle Awards,[15] but was struggling with sales and heavily subsidised by Skinn's comic shop business to keep going, while the creative teams began quibbling about the division of spoils and the potentially constrictive Challenger Force concept.

[4] Moore and Davis provided wrapping sequences that framed the strips as an epilogue to Book One, featuring a pair of unnamed cleaners tidying the Project Zarathustra bunker while watching some of the video cassettes held there - the revival having retconned the characters' older adventures as dreams induced by Emil Gargunza.

[8] At this stage, that Anglo retained ownership of the Marvelman characters was unknown, and it was instead believed by all involved that the rights were split between Moore, Leach, Davis and Quality Communications the strip was unable to continue without approval from all parties.

Following the demise of Warrior, and after unsuccessful negotiations with DC and Marvel, Skinn struck a deal with the Schanes brothers at Pacific Comics of San Diego in 1984 to continue the story - unaware at the time that he did not have the rights to do so.

[23] The bi-monthly Miracleman title began in August 1985 by reprinting the extant Warrior material, resized from UK magazine size to US comic book format and edited by Yronwode.

[Note 3] Moore reworked some of the dialogue and an additional page consisting of a gradual zoom into Miracleman's eye, accompanied by a quotation from Friedrich Nietzsche's Thus Spake Zarathustra.

[28] Material from Quality's Marvelman Special was also used but instead of being colourised the relettered pages were subjected to the stereoscopy process by Ray Zone and released as the one-shot Miracleman 3D #1 in October 1985, one of a number of such titles issued by Eclipse at the time.

Having noticed that a previous comics delivery had used a Hustler centrefold as reference,[42] the editor instructed Veitch to model it instead on A Child is Born, a book featuring photo studies of a birth taken by Lennart Nilsson.

[45] Moore had considered quitting the title after the end of Book Two after Yronwode and Mullaney berated his then-wife Phyllis over the phone over deadlines, but ultimately decided to stay on due to the opportunity to link up with Totleben again.

Moore vociferously resisted any suggestion of replacing Totleben, resulting in the nominally bi-monthly six issues taking over two and a half years to complete; by this point the series' slow schedule was well known.

[48] While the narrative broadly followed the plans Moore had originally mapped out during the Warrior days both his own growth as a writer and the opportunity of collaborating with Totleben saw the story evolve considerably.

[45] Contrary to popular belief, Miracleman #15 was not short-printed - Eclipse's sales manager at the time, Beau Smith, estimated the issue had the same print run of 85,000 copies as others of the period, and attributed the aftermarket demand to the story's critical reputation.

[8]At the time Moore had announced the issue as the last he would write for a superhero title; while positively reviewing the comic for Amazing Heroes, Jeffrey S. Lang called it a "valedictory address" and praised its thought-provoking nature.

[54] Gaiman chose artist Mark Buckingham as a collaborator after being impressed with his work for Heartbreak Hotel; he initially considered Dave McKean, who would instead provide covers for the first "book" of six issues.

[60] The title remained one of Eclipse's strongest sellers and, with the company's fortunes dipping, they attempted to find a way to increase the output while not alienating the creative team, who had veto on any material featuring the character.

[54] Around this time Eclipse were able to persuade Gaiman to greenlight an ongoing spin-off named Miracleman Triumphant,[40] which unlike Apocrypha would entirely take place in the main continuity.

[62] Only two issues of "The Silver Age" had been printed; a third was ready but due to their dire finances Eclipse were unable to find a printer who would provide them with the credit needed to actually get the comic produced.

[64] Legal proceedings over the ownership left the title out of print, leading to back issues and trade paperbacks of the series greatly increasing in price in the collector's market.

[39] Once this was established Marvel's creative director Joe Quesada, a long-time fan of the title, struck a deal with Anglo himself to license Marvelman, planning to reprint the extant material and then continue it.

[78] The original artwork was restored by Michael Kelleher and his Kellustration company, coloured by Steve Oliff and relettered by Chris Eliopoulos for the first issue, with Joe Caramanga subsequently taking over from the latter.

[95] The story content again matched with the corresponding Eclipse issues, while the abundant sketches and artwork Buckingham provided saw the Anglo reprints dropped in favour of extended versions of "Miracleman: Behind the Scenes".

Variant covers were once again commissioned from a host of feted artists, including Phil Jimenez, Chris Sprouse, Steve McNiven and David Aja[114] Marvel released the digital comic Who is Miracleman?

[115] In the original material, after nobly helping save Guntag Borghalt from attackers, Daily Bugle copyboy Micky Moran is gifted the Key Harmonic of the Universe by the astro-scientist.

As Gargunza used salvaged Qys technology to create the superhumans, agents of the alien race come to investigate, leading to the previously secret Miraclewoman making her presence known.

[125] The Red King Syndrome was released two years, featuring a cover by John Bolton and compiling strips from #4-7 & #9-10, omitting the Young Miracleman: 1957 short story from #6 and the vintage reprints from #8.

[127] Samuel R. Delany provided the foreword for The Golden Age trade in April 1992, which collected #17-22 - aside from the short "Retrieval" strip serialised across the issues - and featured a new cover from Mark Buckingham.