Adventures of Superman #644 offers an epilogue to “Crisis of Conscience,” which also ties to other narrative threads and leads into Infinite Crisis #1.
“Crisis of Conscience,” running in JLA from #115 to #119, was promoted as bridging the gap between Identity Crisis and Infinite Crisis.
The idea of the modern American super-hero is an abstract and nebulous concept.
In the month after the historic “Sacrifice” storyline, three of the four titles that participated in that storyline offered stories dealing with the aftermath of “Sacrifice.”
The OMAC Project #3 ended with Maxwell Lord surprisingly speaking to a seemingly hypnotized Superman. “Sacrifice,” which that issue noted would continue directly from OMAC #3,
Having mentioned how well Rucka foreshadowed Wonder Woman’s murder of Maxwell Lord, it’s worth looking at exactly how Rucka accomplished this in the pages of Adventures of Superman.
It’s time to update our look at “Sacrifice,” the storyline that spun out of The OMAC Project. Specifically, it’s time to look at the end of that storyline…
The fairly recent announcement of a Prime feature film led me to dust off my collection of Ultraverse comics.
The final of the four “Countdown to Infinite Crisis” mini-series to be published, The Rann-Thanagar War is certainly not the weakest and is just as certainly the most sweeping.
We’ve looked at the first three issues of The OMAC Project. Now it’s time to look at the shocking storyline those three issues flowed into: “Sacrifice,” running through an entire month’s Superman and Wonder Woman… [more]
Having examined DC Countdown, let’s turn our attention to the four mini-series it spawned, beginning with the one that most directly springs from DC Countdown‘s narrative: Greg Rucka’s The OMAC Project.
We’re now in the third month after DC Countdown, and it’s time to review the various top-selling mini-series and other events counting down to Infinite Crisis…
On 8 May 2005, DC Comics unveiled its new logo — the first in 30 years or so. What’s in a logo? Does it matter?
The medium variously known as comic books, graphic novels, bandes-dessinés, manga, manga, sequential art, and sequart has been defined as the juxtaposition of text and image on the static page. Once can here recall Words… [more]
Today, Watchmen is celebrated as an autonomous work — and it is partly on this basis that its greatness rests.
Grant Morrison made me care about the X-Men for the first time. Oh, I’d read the X-Men. I liked the ideas behind “Days of Future Past” and “The Dark Phoenix Saga.” I just didn’t care.
With the current focus on the rights to Superman, it’s worth taking a moment to discuss the history of the Superman copyright.
What do we call our medium? The most common answer is “comics.” Some would say otherwise, offering “comix,” “the ninth art,” or “sequential art.” Others abroad would say “manga” or “les bandes-dessinés.” All, however, are… [more]
Bill Jemas was for a few years the man everyone loved to hate. He played the bad guy to Joe Quesada, who more effectively cultivated himself as the “people’s man” in Marvel Comics’ administration. Now… [more]
I can’t recall the first comic I ever read. I’m sure they featured in my early childhood, as my family has tattered old Donald Duck and other Gladstone comics to prove it.
In the Golden Age of the 1930s and 1940s, comics were mostly episodic tales in which characters barely changed.
The creation of derivative versions of super-heroes goes back to Captain Marvel’s derivatives, Mary Marvel and Captain Marvel, Jr. — which were introduced in the 1940s.
It’s funny that it’s so resoundingly universally accepted. It’s been repeated so many times, from everyone from fans and comics professionals to scholars, that it’s become an article of faith.