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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.
I’ve never once criticised the work of another blogger in public, so why start now? Yes, Gene Phillips’s Making a Dirty Breast of the Matter (parts 1 and 2) are appallingly written pieces which express… [more]
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]
I want to focus on one remark made by Kelly Thompson in the essay “No, It’s Not Equal,” regarding the inequitable objectification of male and female characters in superhero comics:
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]
1. When did Alan Moore become ALAN MOORE? When did the promising prospect become the master Bardly craftsman? If his work for Marvel UK in the early 1980s is to be trusted, the graduation occurred… [more]
Justice League #1-6 Review: Not the Back-Ups, Not All the Filler Art or Teases for Future Storylines
Team books were always a challenge in the old days.
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]
Scott McCloud’s The New Adventures of Abraham Lincoln reads as if it had been pieced together by a team of expert comic-book historians from a great mass of often incomplete and even contradictory notes, sketches,… [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.
In the past few days there has been an EXPLOSION of updates for Diagram for Delinquents. Most of which is the acquisition of new interview subjects for the film. Our next interview trip will include… [more]
Over on our Image documentary’s Kickstarter page, we’ve debuted the film’s first live-action trailer.
Hell hath no fury like a fanboy scorned.