In the supplemental material in the issue, Grant Morrison writes, “Superman is mankind at its best, and Lex Luthor is us at our worst . . . but they’re both us.” It’s a sentiment that… [more]
In the forward to The Absolute Sandman, Volume One Paul Levitz quipped that Sandman was an unfolding dialectic that narrowed the lines between folk tale and myth. Since the beginning of this narrative, Levitz speculated… [more]
In Strikeforce: Morituri, the Marvel Comics series created by writer Peter B. Gillis and artist Brent Anderson, which debuted towards the end of 1986, the Earth of the late 21st century is under attack by… [more]
Continued from last week. It would take Millar almost a decade to develop a style that was as controlled and effective as his ideas were consistently intriguing. The first substantial evidence of this would appear… [more]
We’ve previously looked at Warren Ellis’s overall realistic worldview and how this is reflected in the revisionism of his much-celebrated 1999-2003 period. We now turn to his work at Marvel from 2004-2010.
How hard can it be to get a Wolverine movie right? I mean “right” as in a movie that understands what has made the character a fan favorite for the last two or three decades… [more]
In which I discuss Sequart’s most recent publication, The Devil is in the Details: Examining Matt Murdock and Daredevil, edited by Ryan K. Lindsay, and my own essay in the volume (which is titled “What… [more]
If there was ever a time more confusing in relation to comic books it was the ’90s. I was born in 1988 and grew up a child of the ’90s, a product of a pop… [more]
On page 1, panel 1, the first dialogue in the comic goes to real estate developer Glen Glenmorgan says, “and it’s a done deal! How about a drink to celebrate this turning point?” to a… [more]
Comics are analogues of reality, and paint in fantasy tales more compelling than the real world conflicts they are based on. Saga overwhelms the reader with a terrible level of detail, capturing conflicts ranging from… [more]
Sequart has released a full trailer for its upcoming feature-length documentary, The Image Revolution.
Swamp Thing #42 “Strange Fruit” Cover Date: November 1985. Writer: Alan Moore. Artists: Stephen Bissette, John Totleben and Ron Randall. Colorist: Tatjana Wood. Letters: John Costanza. Editor: Karen Berger. This issue serves to conclude the… [more]
Continued from last week. “Why are they so obsessed with continuity? A story is a story – nothing more, and yet people want to know which Earth Watchmen takes place on.” (*1) The adolescent Millar… [more]
My So-Called Secret Identity: not just principled, smart and promising, but repeatedly downright enjoyable. Every story contains any number of manifestos. The less a comic’s creators focus on a precise expression of their own beliefs,… [more]
Comixology has defined part of its business model by giving away first issues of on-going series and samples of other comics as a means of catching reader’s attention and hooking their interest for the long-term.… [more]
For years now, the problem that all Superman writers must face is how to show the heroism and humanity in the world’s most powerful and recognizable hero. Prior to the New 52, Geoff Johns and… [more]
Finalizing the Doll’s House narrative plot, Neil Gaiman’s celebrated Sandman series concludes the first twenty issues with four limited one shot arcs, both harkening back earlier tales and looking forward to future ones. So far… [more]
In many of the great comics of the year 1986, their creators were examining the medium and the genre in which they were working and their histories, critically reevaluating them and redefining them for a… [more]
Continued from last week. From the middle of the Eighties to the decade’s end, the teenage Millar’s preference appears to have been for the breed of super-hero comics associated with the label of deconstruction. The… [more]
In an interview for Warren Ellis: Captured Ghosts, Ellis recounts how some comics fans, in the wake of 9/11, expressed the wish that Superman were real, so he could have prevented such a devastating tragedy.… [more]
In the recent discussions over censorship of Persepolis in Chicago public schools, there’s been a notable lack of discussion over why anyone would want the book removed — and what such reasoning represents.
The first volume of Demo was an impulse buy for me. I knew nothing about it, although the cover image of a red and pink punk rock couple lost in a sea of dour, grey… [more]
Death – Death – Death comes sweeping down – Filthy death, the leering clown. Death on wings, death by surprise, failing evil from worldly eyes. Death that spawns as life succumbs, while death and love,… [more]
With the advent of newer technologies and advanced AI, humans are being systematically phased out from everyday life. This is the machinist’s nightmare: to be replaced by the very things they fabricate and build. What… [more]