Host Cody Walker and guest Terry Bartley discuss world-building in corporate super-hero comics continuity.
In November 2010, I interviewed China Mieville for my website, Popgun Chaos.
By now everyone has at least heard of, if not seen, David Fincher’s adaptation of The Girl With The Dragon Tattoo, a film that many are calling one of the best of the year.
Green Lantern #18 reads like something of a reprise of issue #11, with Sinestro once again playing mind-games on the hero and luring him to Qward as well.
When I was a kid, I remember asking my dad which superhero was his favorite.
It may not seem like so at first, but everything is broken in Alan Brennert and Jim Aparo’s Interlude On Earth-Two.
Having briefly introduced Miracleman, let’s begin looking at Alan Moore and Garry Leach’s earliest stories, which appeared in the legendary British magazine Warrior.
As I write this, Hanukkah is in full swing and Christmas is days away.
Sequart’s Improving the Foundations: Batman Begins from Comics to Screen, by Julian Darius, is now available digitally for 99 cents.
Green Lantern #3 makes the Weaponers of Qward the hero’s first repeat villains, as the extra-dimensional villains create an illusion to aid them in stealing Green Lantern’s power battery.
Many mini-series set in the Ultimate Universe are known for being odd ducks indeed.
What to do when trapped with a front-line, world-class bore?
Everybody talks about Miracleman, but few have read it. Far more people know of Miracleman’s importance than understand why it occupies such a crucial role in the history of super-hero comics.
Guests Julian Darius and Kevin Thurman discuss event comics, their pitfalls, and their possibilities.
The covers to most comics are a mixed bag. There are some that look so atrocious they would make Warren Ellis puke up his Red Bulls and shepherd’s pies. The cover, after all, is just… [more]
Whenever a critic speaks of any popular work as possessing a “mythology”—a term often applied to serial, fictional narratives—the most common objection is that popular fiction is too “low”—as in, “created for the lowest common… [more]
Continuity can be a good thing.
Ok, so here’s a fun one.
After its three-page thematic introductory sequence, Holy Terror shifts to the Fixer chasing Cat Burglar across Empire City’s rooftops. It’s a sequence not without its charms, including a few powerful images. It depicts an eccentric, hard-boiled… [more]
Alan Moore’s early professional work (such as Maxwell the Magic Cat, Roscoe Moscow, and The Stars My Degradation) was firmly rooted in comedy, which may seem at odds with the more later dramatic work he became… [more]
In Part 2 of this discussion of editor / writer Stan Lee’s contribution to the creative process in the era of Silver-Age Marvel Comics, I argued that Lee had done far more than just dialogue… [more]
Marvel is branching out into legitimate publishing and I couldn’t be more excited.
I was speaking to a friend of mine recently who lives primarily in Thailand but has been staying in the U.S. temporarily, and I asked her if she was familiar with Superman.
It’s hard for me to describe the mixture of pleasures and pains, both of them quite intense, that I feel reading Holy Terror. The pleasure tends to be artistic, primarily visual. The pain tends to… [more]
Guests Kevin Thurman and David Balan discuss the future of the comics form, and the implications of digital comics.