NOT a Dazzler Rip-Off AT ALL -- Clarion

I’ll address this right from the start. Clarion is a rock star turned superbabe. Dazzler is a rock star turned superbabe. I created Clarion circa 1976, at least three to four years before Dazzler first appeared in Uncanny X-Men #130 (1980). So Clarion is not in any way inspired by or even related to Dazzler. I’m not bragging, though.

To be frank, my original conception of Clarion stands as a blatant rip-off of DC’s fishnet-stockinged diva Black Canary. Of course, I lifted traits from other super-songstresses, too, namely Marvel’s Lorelei (1969) and Joan Collins’ portrayal of the villainess Siren (1966) on the old Batman TV series. I based Clarion’s not-so-secret identity as a gorgeous, glamorous rock star on youthful obsessions with Olivia Newton-John, Nancy Wilson, Stevie Nicks, and the Runaways. Later, when Madonna hit it big, I cribbed much of Mad’s personality and style for the developing storylines surrounding Clarion.

Ironically, the most overtly sexualized female character in the Trademark Universe owes her true birth to a missionary pamphlet I stumbled upon as a kid. The tract was entitled Clarion Call, and the illustrated logo was a striking female angel blowing a trumpet. Originally, I toyed with the idea of Clarion’s sonic powers emanating from a large mystical bugle of sorts. Wisely, I scrapped that idea and just went with voice-generated sonic abilities similar to those displayed by Marvel’s Banshee (1967).

Of course, when Marvel introduced Dazzler in the early 1980s, I grew extremely annoyed. Not knowing much about plagiarism laws at the time, I sincerely toyed with the idea of writing Stan Lee and informing him that I had come up with the idea of a rockbabe-turned-superbabe first. I must have thought better of this foray into the nebulous world of intellectual property because after a few months I simply accepted the fact that both myself and Marvel Comics had spontaneously generated identical creative concepts.

Clarion continued playing a major role in the events that shaped the Trademark Universe. As a member of the Protectors, she battled would-be world beaters by day while dating just about every available (and sometimes unavailable) superdude during her off hours. Often she juggled two or three super-suitors simultaneously. One such love triangle busted up the long-standing friendship of Airfoil and Beachcomber, while subsequently driving Beachcomber to adopt a life of super-villainy as Aquarius.

In keeping with her life as a rock star, Clarion also must regularly battle the temptations of drug and alcohol abuse. Combined with intimacy issues and a passionate, volatile temper, Clarion is one of the Trademark Universe’s most unpredictable and unstable heroes. As seen in the opening pages of Worlds Apart, she clashes immediately with Hangman over his handling of the Trishy Tanaka hostage situation. Her impulsive attack against Götterdämmerung’s Buzzcock actually sets in motion all the events to follow.

I guess what I’m trying to say is, don’t dismiss Clarion as a knock-off of any past super-songstress. Thirty-five years after her creation, she deserves to be treated as her own woman, foibles, failings, and all.