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 May 2012 issue of Q magazine debuts a new comics review column, written by none other than Colin Smith, Sequart friend and mainstay. And although Colin’s keen to emphasize that he’s hardly taken over the magazine,… [more]
Whenever the phrases “we removed the circus strongman elements of his costume” or “the emotional journey of this troubled teenager” get used in an interview about a character’s redesign, I have to admit I get… [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.
In “Pulp Friction” I addressed the logical problems inherent in the position of those fans I called “anti-pulpsters,” who oppose, in one way or another, the presence of extravagant sensationalism in superhero comic books.
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.
Last week I went into some depth exploring the fan-made costume designs that are featured on the web site “Project: Rooftop.”
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]
If you’re a comic book aficionado and you’re not familiar with the design web site “Project Rooftop,” let me enlighten you (and ruin your afternoon as you spend the next several hours going over the… [more]
As described briefly in the previous article, Frank Miller had chosen to recreate Daredevil as a gritty, crime-film-influenced narrative.
In literature, I would say that it’s different. I would say, and it might be splitting hairs, but I’m not adapting these characters. I’m not doing an adaptation of Dracula or King Solomon’s Mines. What… [more]
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]
Hello Diagram for Delinquents supporters! It’s been sometime since we’ve had a blog update regarding the film. I’ve been busy working at the University, teaching, creating theater installations, and the like (A lot of which… [more]
In “The New 52 and the New Adult Pulp,” I endorsed the notion of mainstream comics embracing their heritage (yes, heritage) of extravagant sensationalism.
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.