By design and chance, Tales to Astonish #44 had presented a fledgling romance between Pym and Van Dyne which had the potential to constantly and plausibly generate both conflict and reconciliation over and over again.… [more]
With Grant Morrison’s departure from JLA in 2000, DC made the absolute best decisions possible for the title’s new creative team. As writer, DC chose Mark Waid. Waid had written Kingdom Come (which had inspired… [more]
Over the course of the coming months, Sequart will be serializing chapters from my forthcoming book, currently titled 1986: The Year That Changed Comics, here on their website.
Issue 3 of Flex Mentallo brings us into the “dark age” of super-hero comics, starting with the Dark Knight parodying cover, which even features faux autographs from the creators.
Suddenly, Ant-Man’s wife was dead.
While many celebrate Gardner Fox’s inaugural run on Justice League of America, comparatively few appreciate the run that immediately followed it: that of Dennis “Denny” O’Neil and penciler Dick Dillin (who had illustrated Fox’s final two… [more]
New York City, 1938. A young cartoonist named Bob Kane is attending a party where he serendipitously crosses paths with a fellow Dewitt Clinton High School alumni by the name of Bill Finger. Kane had… [more]
By many accounts, it was Rob Liefield who initiated talks about forming Image Comics and encouraged other rock star artists of the late 1980s and early 1990s into breaking away from the mainstream to form… [more]
Saga of the Swamp Thing #25: “The Sleep of Reason” Cover date: June 1984 Writer: Alan Moore. Penciller: Steve Bissette. Inker: John Totleben. Letterer: John Costanza. Colorist: Tatjana Wood. Cover: Steve Bissette and John Totleben.… [more]
The six-issue, second Super Powers mini-series from 1985, written by Paul Kupperberg, penciled by Jack Kirby, and inked by Greg Theakston, has been almost completely ignored by critics.
In discussions of graphic novels, three works that are regularly cited as landmarks of the medium are Alan Moore and Dave Gibbons’s highly acclaimed Watchmen, Art Spiegelman’s Pulitzer Prize-winning Maus, and Frank Miller’s Batman: The… [more]
Each issue of Flex Mentallo is loosely aligned with an era of comics, and the second issue takes us into the Silver Age. The Silver Age was notable for crazy experimentation
Quite a few of Moore’s works don’t merely feature transformative themes but display a capacity for transformation themselves. By taking on new forms, they lead what could be described as parallel or alternate lives.
The 1988 four-issue mini-series The Weird — written by Jim Starlin, with art by legendary comics artist Bernie Wrightson and inks by Dan Green — isn’t told from the Justice League’s point of view. Rather,… [more]
Comic readers from Gen X and (older members of) Gen Y remember 1992 as a sort of zeitgeist for comics. Change was in the air in all strata of the field
Saga of the Swamp Thing #24: “Roots” Cover date: May 1984. Writer: Alan Moore. Artists: Steve Bissette and John Totleben. Colorist: Tatjana Wood. Letterer: John Costanza. Cover: Tom Yeates. Editor: Len Wein.
Don’t print the legend. There was no such thing as an archetypal “Marvel superhero” for the first few years following the publication and unexpected success in 1961 of the Fantastic Four. What would in hindsight… [more]
Like many classic comics from the 1980s onward, JLA: Earth 2 (the 1999 original graphic novel written by Grant Morrison with art by Frank Quitely) plays with comics history in a postmodern way, offering new… [more]
The Invisibles is Grant Morrison’s definitive work about our world, the nexus of his philosophical worldview, simultaneously the source and culmination of his ideas about our universe. But there is another world, the super-hero world
1996’s Kingdom Come — a self-contained, fully-painted series by writer Mark Waid and artist Alex Ross — was first published as a four-issue, prestige-format mini-series, designated as an Elseworlds (i.e. out-of-continuity) tale. The story was… [more]
For fans, many of the works that Alan Moore produced for DC carry the shadow of later acrimony between the author and publisher
Why should we care about Tony Stark? More importantly, why should we pity him?
We’ve begun discussing chapter seven (parts one, two, and three) of Alan Moore’s Miracleman, illustrated by Alan Davis. Today, we conclude our exploration of that chapter. (We’ve previously introduced Miracleman and discussed chapters one, two, three, four, five, and… [more]