When dealing with 20th-century novels, James Joyce’s Ulysses is arguably the most significant work in terms of its influence on writers who would follow in the modern and postmodern traditions.
While the Black Glove doesn’t actually make an appearance until later in the series, the presence of Dr. Hurt can be felt in the very first issue as Batman throws the Joker into a dumpster… [more]
Last time, we began our examination of chapter five of Alan Moore’s Miracleman. Originally printed in Warrior #6 (Oct 1982), it concludes Miracleman’s fight with Kid Miracleman and marks the midpoint of Book One.
It is commonly held that the United States helped create the comics art and literary genre; however, what is often overlooked is the significant comics community thriving in Europe during these early years, particularly in… [more]
While Dick Grayson and Damian Wayne were busy learning how to adjust to their new identities, a secret war was being waged between Dr. Thomas Hurt and the Joker.
It’s not just great artists who steal.
Having introduced Miracleman and discussed its first, second, third, and fourth chapters, as well as the interlude “The Yesterday Gambit,” we now turn to chapter five of Alan Moore’s Miracleman, which concludes the hero’s first… [more]
The notion of discovering intelligent life on another planet and discovering new worlds in space might initially seem to be an exciting field of exploration rife with optimism.
The years steam past, the comics pile up, and the canon for any single moment of time soon collapses to a ridiculously over-simplified, back-of-a-Trivial-Pursuit-card answer.
Last time, we began discussing the fourth chapter of Alan Moore’s Miracleman. This time, we conclude our look at that chapter.
Like most writers, I enjoy seeing one of my assertions independently confirmed by a critic working in a parallel vein.
Like traditional literature, graphic novels and comics approach the science fiction genre in a variety of different ways, and this should come as no surprise given the various approaches to sequential art in the United… [more]
Alan Moore doesn’t even slum it like the rest of us do.
Having introduced Miracleman and discussed its first, second, and third chapters, as well as the interlude “The Yesterday Gambit,” we now turn to chapter four of Alan Moore’s Miracleman, in which the hero has his… [more]
As described briefly in the previous article, Frank Miller had chosen to recreate Daredevil as a gritty, crime-film-influenced narrative.
Camus defined a rebel as a man who says no, and that’s exactly what Warrant Sergeant Hugh Thompson was on Saturday, 16 March 1968, when his helicopter flew over the Vietnamese village of My Lai.
We’ve introduced Alan Moore’s Miracleman interlude from Warrior #4, “The Yesterday Gambit,” and examined its first, second, and third segments. We now turn to its final segment, illustrated by Steve Dillon, in which Miracleman and Warpsmith return… [more]
In any comic book adaptation, there are people who will criticize the film’s translation from the original comic book.
An early warning, I’m going to be talking about Scott Snyder and Greg Capullo’s Batman #5 in this article and I will be spoiling some of what it does.
Please do be aware: spoilers.
We’ve introduced Alan Moore’s Miracleman interlude from Warrior #4, “The Yesterday Gambit,” and examined its first and second segments. We now turn to its third segment, illustrated by Alan Davis, in which Miracleman and Warpsmith revisit… [more]
A “Redundant” Justice League: An Analysis of DC’s New 52 in Light of Umberto Eco’s Theory of Narrative Redundancy
It can be argued that Justice League, the flagship title of DC’s “New 52,” is predominantly a narrative of images.
If there is one thing just brutally asymmetrical to the series Locke and Key is how overwhelmingly overlooked it is.
Please be warned: spoilers ahoy!