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.
I’ve spent a lot of time over the past few years writing about Grant Morrison, talking about Grant Morrison, and making a film about Grant Morrison, and it’s now time to continue that work with… [more]
Like many Western comic fans of a certain age (which will go unmentioned), I have had little exposure to manga and anime.
We’ve previously begun discussion of chapter six of Alan Moore’s Miracleman and gotten through page three. We now continue discussion of this pivotal chapter.
During the last week of December, savvy shoppers are aware of the 50% discount on new calendars for the upcoming year.
Allow me to introduce you to a man you may have met before through his writing, art, or interviews.
The received wisdom has it that the future world of the Legion Of Super-Heroes was originally an inspiringly optimistic, comfortingly cosy, super-scientific utopia.
We’ve previously begun discussion of chapter six of Alan Moore’s Miracleman, which originally appeared in the classic British magazine Warrior. We continue that discussion today.
Charles Burns’s Black Hole starts off like so many other bildungsroman stories before it: girl and boy meet, girl and boy fall in love, girl and boy experience sex together for the first time, girl discovers… [more]
I’m sitting at a little coffee shop in Springfield, Missouri, called the Brown Egg with my comics spread out on the table. As the waitress delivers my pancakes, she remarks, “That looks really cool,” as… [more]
In his Art of the Comic Book, R. C. Harvey offers Boys’ Ranch as an example of Jack Kirby having elevated comics into an “art form.”
Having introduced Miracleman and discussed chapters one, two, three, four, and five, as well as the interlude “The Yesterday Gambit,” we now turn to chapter six of Alan Moore’s Miracleman, which originally appeared in the classic… [more]
While R.I.P. could be argued to be a game of chess between Batman and Dr. Hurt, the game of dominoes is at the forefront of Batman & Robin.
This is not an essay I wanted to write. Doing so, I’m conscious of wading into waters famous for their landmines. This is at least the sixth full draft of this essay. Most of the… [more]
The Uncreator. The Universal Endbringer. The Anti-God. Gah. Lak. Tus.
There’s been a lot of controversy over women’s rights in the United States in the media lately.
In the footnotes for the first volume of Batman & Robin, Grant Morrison discusses the strange coincidence of the third issue’s cover resembling an image of the Joker that Brian Bolland had done years previous.
Having reached the halfway point of Book One, let’s pause and consider the influence of Chris Claremont and John Byrne’s Dark Phoenix saga on the way Moore presents his own hero-turned-villain, Kid Miracleman.
Alan Moore’s done it. Jack Kirby and Stan Lee did it. Osamu Tezuka did it. Grant Morrison did it so regularly and intently that he gave it a name.
“I mean the criticism teaches not a language of criticism […] but a language in which poetry already is written, the language of influence, of the dialectic…” (Bloom 25).