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.
There’s something of the world before the meteor fell about the Marvel Comics of the mid-Seventies.
Having briefly introduced Miracleman and discussed its first episode, let’s turn to the second of Alan Moore and Garry Leach’s earliest stories, which appeared in the legendary British magazine Warrior.
Green Lantern #18 reads like something of a reprise of issue #11, with Sinestro once again playing mind-games on the hero and luring him to Qward as well.
It may not seem like so at first, but everything is broken in Alan Brennert and Jim Aparo’s Interlude On Earth-Two.
Having briefly introduced Miracleman, let’s begin looking at Alan Moore and Garry Leach’s earliest stories, which appeared in the legendary British magazine Warrior.
Many mini-series set in the Ultimate Universe are known for being odd ducks indeed.
What to do when trapped with a front-line, world-class bore?
Everybody talks about Miracleman, but few have read it. Far more people know of Miracleman’s importance than understand why it occupies such a crucial role in the history of super-hero comics.
The covers to most comics are a mixed bag. There are some that look so atrocious they would make Warren Ellis puke up his Red Bulls and shepherd’s pies. The cover, after all, is just… [more]
Whenever a critic speaks of any popular work as possessing a “mythology”—a term often applied to serial, fictional narratives—the most common objection is that popular fiction is too “low”—as in, “created for the lowest common… [more]
After its three-page thematic introductory sequence, Holy Terror shifts to the Fixer chasing Cat Burglar across Empire City’s rooftops. It’s a sequence not without its charms, including a few powerful images. It depicts an eccentric, hard-boiled… [more]
Alan Moore’s early professional work (such as Maxwell the Magic Cat, Roscoe Moscow, and The Stars My Degradation) was firmly rooted in comedy, which may seem at odds with the more later dramatic work he became… [more]
In Part 2 of this discussion of editor / writer Stan Lee’s contribution to the creative process in the era of Silver-Age Marvel Comics, I argued that Lee had done far more than just dialogue… [more]
It’s hard for me to describe the mixture of pleasures and pains, both of them quite intense, that I feel reading Holy Terror. The pleasure tends to be artistic, primarily visual. The pain tends to… [more]
The title of Moore’s second strip for Sounds Magazine, The Stars My Degradation, owes its inspiration to a famous science-fiction novel by Alfred Bester, The Stars My Destination (1956). In the novel, Gully Foyle is… [more]
While Mark Millar was experimenting with narrative during his return to the Ultimates, Jason Aaron was exploring the inner-workings of Captain America in his mini-series Ultimate Captain America.
Captain America: the First Avenger—henceforth abbreviated to Captain—is a fairly entertaining film that illustrates both the advantages and disadvantages of applying real-world verisimilitude to comic-book superheroes.