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!
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.