While the first three issues of Grant Morrison’s Action Comics could never match up to the perfection of All-Star Superman, the series had established a slow, methodical unveiling of Superman’s mythology in a way that… [more]
The last installment examined Grant Morrison’s early, partly comedic Batman prose story, “The Stalking,” which was published in the United Kingdom in 1986. In the 1986 British Superman Annual Grant Morrison did another text story,… [more]
Gene Ha takes over on art duties for the first seven pages of issue #3 in order to show what Krypton was like. The first page of issue #3 depicts Krypton as a colorful utopia… [more]
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]
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]
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]
DC provoked outrage, a few days ago, by hiring Orson Scott Card, sci-fi writer and noted homophobe, to write Superman. The comic in question isn’t one of DC’s current titles. In fact, it’s a new,… [more]
It is no secret that printed media has slowly been dying for the past few years; a slow and progressive death in a conflict of textile fulfillment and information efficiency. The ramifications of this digital… [more]
The world wasn’t ready for Superman. For what could be expected when comics were only budding and bursting from the confines of syndicated sequential art, with their pithy quips and political yarns? Fantastic worlds had… [more]
To be honest, the end of the world has always scared the shit out of me.
Last week, I called DC a bunch of tone-deaf morons (or something along those lines) and said that they need to lighten up in their approach to super-hero cinema.
Death is not welcomed in DC, but occasionally, and fortunately, an opportunity arises to talk about death and its greater significance in the DC timeline.
The last son of Krypton is alone.
When I opened Action Comics #1 and saw Superman, I was stunned.
If there’s been one thing on my mind lately, it’s love.
Nothing ever ages worse than a typical product of the moment just before a paradigm shift.
The received wisdom has it that the future world of the Legion Of Super-Heroes was originally an inspiringly optimistic, comfortingly cosy, super-scientific utopia.
Yesterday, my friends Wes and Andrea welcomed into the world their beautiful new daughter, Annabelle Fay. I was there along with members of their family to accompany them on their big day, and even though… [more]
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]
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]
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]
I’ve just returned from watching the new film Chronicle, a superhero found footage movie from director Josh Trank and writer Max Landis.
It’s hard to tell at first from looking that the Clark Kent of 1959’s “The Girl In Superman’s Past” is desperately in love.
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.
Superman Annual #11 is a comic that stands as a classic for all the right reasons.
RSS feed for Superman
