The Mystery Play is another short-form Morrison work from the “adult comics” era of the early ’90s.
Saga of the Swamp Thing #21: “The Anatomy Lesson” Cover date: February 1984. Writer: Alan Moore. Artists: Steve Bissette and John Totleben (co-penciled by Rick Veitch). Colorist: Tatjana Wood. Letterer: John Costanza. Cover: Tom Yeates.… [more]
“Adult” all too often has a different meaning now. But in the very best sense of the term, Jordan and Patterson’s Jeff Hawke was a newspaper science-fiction comic strip for adults.
Batman Begins was, in fact, preceded by other attempts to dramatize Batman’s origins, both on film and on television. In 1999, one production company proposed a weekly series about the boyhood of Bruce Wayne prior… [more]
I don’t like to address politics very often when I write about comics.
Comic literature is truly an exciting field, as it expands its canon to include more than the super-hero genre that got things started in the 1930s and ’40s.
The most pertinent question to ask of ourselves at the outset of discussing fictional works by Moore that deal in some way with magic or even the occult is “what is the difference between a… [more]
In the shadows of the planet Thanagar’s great High Towers, where the three billion souls of the Empire’s alien underclass are segregated away in the most squalid and soul-butchering of conditions, there’s a statue of… [more]
Warren Ellis hates super-heroes. At least, that’s what people say. He certainly has played his part, through a few off-the-cuff remarks, in this misconception. But it would be more accurate to say that Ellis hates… [more]
During the early ’90s, Grant Morrison was wrapping up his acclaimed runs on Doom Patrol and Animal Man and moving away from mainstream super-heroics.
Saga of the Swamp Thing #20: “Loose Ends” Cover date: Jan 1984. Writer: Alan Moore. Penciler: Dan Day. Inker: John Totleben. Colorist: Tatjana Wood. Letterer: John Costanza. Cover: Tom Yeates. Editor: Len Wein.
1-2-3-4! Joe Simon and Jack Kirby’s “The Case of the Hollow Men” is punk super-heroics.
We’ve previously looked at The Fever of Urbicande‘s prologue (and some of its implications), as well as chapters one, two, three (in two parts), and most of four (parts one, two, and three). We now conclude our… [more]
Ten years before Alan Moore informed friends and family that he would be pursuing the path of a practicing magician, he began working for the megalithic American comics company DC on the production of The… [more]
Any amount of risible super-pirate Cap’n Lash is far, far too much, and there are five pages and more of the wretched character in writer Mike W. Barr and artist Trevor Von Eeden’s 1983 mini-series… [more]
We’ve previously looked at The Fever of Urbicande‘s prologue (and some of its implications), as well as chapters one, two, three (in two parts), and most of four (in two parts). We now continue our look… [more]
NOTE: Rather than start chronologically in the early ’90s, I chose to begin my exploration of Grant’s Day-Glo Years with a work that best exemplifies the themes, motifs, and energy of that era of his career
Alan Moore began his career as a minor cartoonist working for his local newspaper and U.K. music magazines, producing humour strips like Maxwell the Magic Cat, Roscoe Moscow, and The Stars My Degradation.
You have to be careful what chapter of Charley’s War you pick to introduce yourself to the strip. It’s all too easy to stumble upon a three- or four-page episode that, at first, seems to… [more]
We’ve previously looked at The Fever of Urbicande‘s prologue (and some of its implications), as well as chapters one, two, three (in two parts), and the beginning of four. Although it’s been a while, we… [more]
In 1942, Isaac Asimov introduced the world to the three laws of robotics and, in doing so, set the stage that later science fiction writers interested in writing about robots would have to cross.
When we discuss the relationship between Alan Moore’s artistic works and magic, clearly marked boundaries become, instead, borderlands of relationship.
“After this, there’s nothing,” explains the ghost of the murdered Hong Kong cop. There is, he assures Planetary’s “mystery archaeologists,” no afterlife awaiting them, or indeed anyone else, when death arrives. Something has brought the… [more]
We’ve previously begun discussion of chapter six of Alan Moore’s Miracleman and continued through page five. We now conclude discussion of this pivotal chapter.