Magazine Archives for:
During the early ’90s, Grant Morrison was wrapping up his acclaimed runs on Doom Patrol and Animal Man and moving away from mainstream super-heroics.
Saga of the Swamp Thing #20: “Loose Ends” Cover date: Jan 1984. Writer: Alan Moore. Penciler: Dan Day. Inker: John Totleben. Colorist: Tatjana Wood. Letterer: John Costanza. Cover: Tom Yeates. Editor: Len Wein.
1-2-3-4! Joe Simon and Jack Kirby’s “The Case of the Hollow Men” is punk super-heroics.
We’ve previously looked at The Fever of Urbicande‘s prologue (and some of its implications), as well as chapters one, two, three (in two parts), and most of four (parts one, two, and three). We now conclude our… [more]
The Walking Dead‘s 100th issue is poised to be one of the highest selling comics in years, its blockbuster success fueled by the record-breaking TV series.
A few weeks ago, I wrote a column about the new version of Venom as he appears in the cartoon series Ultimate Spider-Man.
Have you read David Mazzuchelli’s Asterios Polyp? If not, you should. This graphic novel exemplifies the type of comic that makes excellent use of its visual components and economic use of language
Ten years before Alan Moore informed friends and family that he would be pursuing the path of a practicing magician, he began working for the megalithic American comics company DC on the production of The… [more]
Any amount of risible super-pirate Cap’n Lash is far, far too much, and there are five pages and more of the wretched character in writer Mike W. Barr and artist Trevor Von Eeden’s 1983 mini-series… [more]
We’ve previously looked at The Fever of Urbicande‘s prologue (and some of its implications), as well as chapters one, two, three (in two parts), and most of four (in two parts). We now continue our look… [more]
Chris Claremont’s run on X-Men / Uncanny X-Men was a milestone achievement for Marvel and super-hero comics in general, spanning seventeen years and hundreds of stories. One of Claremont’s more intriguing characters was Maddy Pryor
Spider-Man is known for taking chances with his wardrobe.
NOTE: Rather than start chronologically in the early ’90s, I chose to begin my exploration of Grant’s Day-Glo Years with a work that best exemplifies the themes, motifs, and energy of that era of his career
Alan Moore began his career as a minor cartoonist working for his local newspaper and U.K. music magazines, producing humour strips like Maxwell the Magic Cat, Roscoe Moscow, and The Stars My Degradation.
You have to be careful what chapter of Charley’s War you pick to introduce yourself to the strip. It’s all too easy to stumble upon a three- or four-page episode that, at first, seems to… [more]
We’ve previously looked at The Fever of Urbicande‘s prologue (and some of its implications), as well as chapters one, two, three (in two parts), and the beginning of four. Although it’s been a while, we… [more]
Every Sunday, Sequart will be premiering an exclusive clip drawn from our extensive interviews with many of comics’ finest creators.
Music and super-heroes have, for some reason, never been able to get along. Looking at the track listing for the Avengers sorta-kinda movie soundtrack, Avengers Assemble, we can see right away that finding songs to… [more]
In 1942, Isaac Asimov introduced the world to the three laws of robotics and, in doing so, set the stage that later science fiction writers interested in writing about robots would have to cross.
When we discuss the relationship between Alan Moore’s artistic works and magic, clearly marked boundaries become, instead, borderlands of relationship.
“After this, there’s nothing,” explains the ghost of the murdered Hong Kong cop. There is, he assures Planetary’s “mystery archaeologists,” no afterlife awaiting them, or indeed anyone else, when death arrives. Something has brought the… [more]
We’ve previously begun discussion of chapter six of Alan Moore’s Miracleman and continued through page five. We now conclude discussion of this pivotal chapter.
If there’s one character who is constantly in need of a makeover, it’s Venom.