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by Andy Smith

15 Apr 2010


Oftentimes, comicbooks do not wear religion so boldly on its spandex sleeve. Historically, X-Men has rarely chosen any side on religion, but the book has never been afraid to use compelling themes from Christianity as plot devices.

Between “Messiah Complex” and “The Second Coming,” creative teams behind the X-Books seem to be especially keen on Christian allusions over the past couple years. They made it easy enough with the rumors of Hope—a child of an impossible birth—being the first new mutant since Scarlet Witch left only a couple hundred after causing the Decimation.

by C.E. McAuley

14 Apr 2010


Don’t do this to me Grant! DC I beseech thee!!! Do not bring back Bruce Wayne—at least not as Batman.  And please, for the love of God, please do not bring him back in the manner depicted on the sketches in the back of Booster Gold #29.

Gang, this is not a teaser, it’s the cause of what can only be described as a vascular event. First the pain hit my eye and then my temple, finally I realized what I was looking at. However, without a magnifying glass I cannot be 100 percent certain. What follows? My speculations and reflections on the six frames of the apparent covers for the “Return of Bruce Wayne”.

by Oliver Ho

12 Apr 2010


Ten years after the Comics Code Authority put an end to the now-iconic work of EC Comics, James Warren brought horror comics back to life with Creepy. Among the surprising joys that come from reading the first Creepy collection now, there are appearances from two horror movie icons in pivotal and strangely similar stories.

“Turned off by the insipid, preadolescent blandness that plagued the comics industry of the day, Warren dreamed of making a significant impact of his own, but outside the stifling regulations of the Comics Code, away from the stupefying trappings of the superhero genre,” writes Jon B. Cooke in his introduction to Dark Horse’s first hardcover collection of Creepy.

by Andy Smith

8 Apr 2010


Comic book fans can sometimes apply the hero and villain convention to many things outside of the medium. We may ask ourselves questions when coming across new trends and innovations.

“Will this tech be used for good or evil?”

“How can we rise up to defend or defeat this thing?”

“Is Loki behind all of this?”

And as of last week, some of us are asking one question.

“Is the iPad a friend or foe?”

by Oliver Ho

6 Apr 2010


A self-conscious young woman is teased by her classmates, who compare her to the yokai known as the “slit-mouthed woman.” She takes their taunts to heart, and believes in the myth of the yokai so deeply that she eventually turns into the powerful and destructive demon.

As we learn more about her story, we find that her transformation is an allegory that involves deeper and more touching themes of honesty and love. In order to challenge her “possession” by the story of the yokai, it must be interpreted and understood on more than one level. As heady as that sounds, bear in mind that this challenge is led by a porn-addicted, hiccuping detective and his bathroom-dwelling partner, who is another yokai.

Hanako and the Terror of Allegory presents an intriguing combination of quirky characters and traditional Japanese myths, and seems to be a meditation (albeit one with an incredibly goofy sense of humour) on the relationship between storytelling and psychology.

//Mixed media
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Counterbalance: The Avalanches' 'Since I Left You'

// Sound Affects

"Get a drink, have a good time now. Welcome to paradise, and read all about the 305th most acclaimed album of all time. An Australian plunderphonics pioneer is this week’s Counterbalance.

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