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by Oliver Ho

25 Feb 2010


Modesty Blaise beguiles. When we first meet her, in her 1963 debut storyline, “La Machine”, she has already retired from a successful life of crime. Two secret service agents request her help, and as they review their dossier on her, the description arises that she has a ‘hint of Eurasian features’.

With her Breakfast at Tiffany’s hairdo, a Jane Russell figure, and a penchant for ditching her shirt, it would be tempting to dismiss Modesty Blaise as a simple pastiche of early 60s pop culture sex kittens added to a James Bond template.

by Randy Romig

23 Feb 2010


Stories about ‘growing up’ are timeless. The time, place, or circumstances may change, but a boy always becomes a man, and a girl always becomes a woman. I could share personal stories about how I did not get along with my father while I was in high school. I am sure you have your own stories. Everyone does. Growing up and becoming an adult is tough. Just as we deal with these problems in everyday life, the characters we read about in our comic books have problems as well.

 

by Shawn O'Rourke

22 Feb 2010


I confess that for years I was one of those readers that sometimes read through a comic book without paying as much attention to the artwork as I did to the writing. This was no doubt due to a combination of my laziness as a reader, and the sometimes formulaic approach some artists take to their work.

by shathley Q

20 Feb 2010


It’s a flashback to an Ennis moment from Way Back When. With Hellblazer #63, titled “Forty”, Ennis was approaching the 18-month mark on his scripting duties for the series that arguably established him in the popular imagination. By this time, his acclaimed collaboration with artist Steve Dillon was already well underway.

“Forty” was a just-kicking-back kind of standalone issue; hugely important to character development, but one that appeared between the major politics of two storyarcs. As to be expected from the title, this issue marks the fortieth birthday of John Constantine, the titular Hellblazer. And the issue tells the story of the rumpled, disheveled, curmudgeonly way in which Constantine accepts the surprise party hosted by his magickal compatriots (if not quite friends).

by Oliver Ho

18 Feb 2010


There is no place called Liquid City. None of the 28 stories in this anthology states that it’s set there. However, the preoccupation throughout the collection with the myriad ways we are products of our environment suggests that the titular setting does exist. As Geoffrey Rush says in Shakespeare in Love, ‘It’s a mystery’.

Liquid City could represent the idea of home as a mental construct (it’s a state of mind, man), rather than a specific place. The liquidity in its name suggests something formless and fluid, constantly changing. Think of other water-related terms and tropes: still waters run deep; water erodes; it displaces; you can’t step in the same river twice. All seem applicable to life in Liquid City.

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