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).
Once the transformation into the Batman of Zur-En-Arrh is complete, the comparisons to the Joker are apparent and numerous.
Dan Dare is ancient comics history now.
We’ve looked at chapter five of Alan Moore’s Miracleman, examined it in the context of the 1981 Brixton riots, and carried through to Kid Miracleman’s defeat. We now conclude our look at this chapter, originally printed… [more]
In 1974, Frank Castle—also known as The Punisher—made his debut in Amazing Spider-Man #129, and the comics world was introduced to what would become one of the most popular anti-heroes—though he certainly was not the… [more]
The most controversial storyline in Morrison’s Batman run, R.I.P. is the psychological destruction of the Dark Knight.
Those who choose to see the superhero comic’s decline as a relatively recent occurrence may prefer to keep their preconceptions away from The Evolutionary War, a sequence of often-awkwardly linked stories which were originally strung… [more]
We’ve begun looking at chapter five of Alan Moore’s Miracleman and examined its reference to the 1981 Brixton riots. We now continue our look at this story, originally printed in Warrior #6 (Oct 1982), which concludes Miracleman’s… [more]
With the recent release of the Disney film John Carter (which may or may not still be in theaters by the time you read this piece, judging by the film’s reviews) it seems pertinent to… [more]
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.