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!
We’ve introduced Alan Moore’s Miracleman interlude from Warrior #4, “The Yesterday Gambit”, and examined its first segment. We now turn to its second segment, illustrated by Paul Neary, in which Miracleman and Warpsmith revisit the 1963… [more]
My first impression upon picking up my copy of Craig Thompson’s latest work, Habibi, was one of both excitement and trepidation.
While Damian’s name can be interpreted as “to tame,” it can also be interpreted as “to conquer,” which seems to be Talia’s reasoning for his name when she says in issue #7, “Damian will stride… [more]
Violence is generally presented as a solution to problems in comics, because, being the illustrated form they are, they tend to over-simply, reduce everything to its most basic.
We began discussion of “The Yesterday Gambit” last time, having previously introduced Miracleman and discussed its first, second, and third chapters. We now turn to the story of Alan Moore’s “The Yesterday Gambit,” from Warrior #4.
Human activity is not entirely reducible to processes of production and conservation, and consumption must be divided into two distinct parts. The first reducible part is represented by the use of the minimum necessary for… [more]
While Dick Grayson’s growth as Batman is certainly one way of interpreting Batman and Robin, one shouldn’t forget the “Robin” part of the title.
Please be warned; this second Valentine’s Day piece contains very significant spoilers!
We’ve introduced Miracleman and discussed its first, second, and third chapters. We now turn to the famous “The Yesterday Gambit,” from Warrior #4.
Sequential art is a purely visual medium, one that relies on the combination of words and pictures in order to give the illusion of animation and sound.
[Marshall] Field asked, “What do you want?” [Milton] Caniff didn’t even have to hesitate. “I told him full ownership [of Steve Canyon] and full editorial control.” – “Setting the Stage,” by Chris Jenson in Steve… [more]
The very idea of Batman having a son was criticized before Damian ever made his first appearance.
It’s hard to tell at first from looking that the Clark Kent of 1959’s “The Girl In Superman’s Past” is desperately in love.
We’ve introduced Miracleman and discussed its first and second chapters, plus most of the third (part one, part two). We now conclude our look at this third chapter of Alan Moore and Garry Leach’s Miracleman… [more]
In part 1 of this series I wrote: When DC Comics issued their refurbished versions of such characters as the Flash and Green Lantern, the heroes still fought assorted “done-in-one-story” menaces while the narratives remained… [more]
The first six issues of Grant Morrison’s Batman and Robin expertly put Dick Grayson in a position that readers weren’t used to seeing him in – one of vulnerability.
Some of it is still shocking.
We’ve introduced Miracleman and discussed its first and second episodes, plus the first page of chapter three. We now continue our look at that third chapter of Alan Moore and Garry Leach’s Miracleman stories, which… [more]
There is no one who could make a better foil for Dick Grayson than Jason Todd.
There’s such an obvious distinction to be made between the two, but there’s a lot of folks who consistently fail to do so.
Having briefly introduced Miracleman and discussed its first and second episodes, let’s turn to the third of Alan Moore and Garry Leach’s Miracleman stories, which appeared in the legendary British magazine Warrior.
In all great works of literature, the hero must have a foil; that special character designed to enhance the inherent heroic qualities of the protagonist.