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Monday, Dec 10, 2012
If anything, Bloodshot has proven its mastery, and it's evolution of those early-Boomers generation concerns first glimpsed at in the pages of Incredible Hulk

It really is incredibly hard to disagree with DC’s CCO Geoff Johns when he says that the Justice League, and probably the whole of the Silver Age of comics (kicking off in the early 60s) really begins with the “reboot” of the classic heroes Flash and Green Lantern.


Flash and Green Lantern, CSI forensic scientist and ace test pilot, really were the unbidden leap of early Boomers era ambition—the dreams of the beyond, and our collective (as a species) claim to that, the very birth of our ambition.


 
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Monday, Nov 19, 2012
Ed Brisson's comics are relatively short on the caliber of details you'd find in an actual "murder book", but we're probably better off that way.

Murder Book materializes where hard luck stories are best peddled: between bottles of beer at seedy, nowhere-town bars. Or maybe it unfolds in the woods just before dawn, miles from where anyone can hear the soft thwack of thrown punches or the clink of broken glass. Vancouver-based writer Ed Brisson’s comics read like the scenes we’re hesitant to visualize when we browse the “Metro” section’s police blotter in the daily newspaper. These are quick blow-by-blows. They finish as little more than striking renderings of street arguments gone very badly or of alcohol-fueled bouts of rage. And Brisson’s gritty pages never really end well, either. Murder Book’s panels produce at least a corpse or two before each self-contained story closes out, just as they’re designed to.


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Monday, Nov 12, 2012
Crusty old horror comics have played a significant role in the work of author Stephen King.

In the foreboding early panels of Stephen King’s “The Little Green God of Agony”, a free, 24-part serial webcomic, a path to the author’s real-life tragedy is apparent. Framed in dim blues and knife-edged, pitch-black shadow lines from Harvey Award-nominated artist Dennis Calero, the first sequence has King’s billionaire and plane crash survivor Andrew Newsome in the care of Katherine MacDonald, his private nurse. Open Culture blogger Ayun Halliday highlights the connection to King’s own “debilitating accident” when a van struck him as he walked along North Lovell, Maine’s Route 5 in 1999. He was hospitalized for three weeks. The “Little Green” exposition is also reminiscent of Misery—King’s novel about a writer who barely survives a heinous car accident when he’s “treated” for his injuries in the home of a deranged fan. Either way, the comic is off to a grim start.


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Wednesday, Jun 13, 2012
There's jazz coming in from who-knows-where as I finally put Rob's Comic-Con and the Business of Pop Culture down. It floods in by the windows, it fills the room. These really are the best of times.

There’s jazz coming in from who-knows-where as I finally put Rob’s Comic-Con and the Business of Pop Culture down. It floods in by the windows, it fills the room. These really are the best of times.


I’ve had to sherpa my own way through Rob’s book, and I don’t mind saying that it was no hardship, and that I enjoyed every minute of it. If anything, Rob has found a unique voice among business writers. He writes passionately not about the lurking enormity of search as Ken Auletta did in Googled nor does he write about the human revolution of connecting via the internet, as David Kirkpatrick did in The Facebook Effect. Instead, what Rob finds is a deep honestness in the very things were thought of as throwaway culture. Comics, Rob reminds us all, is the very foundry of not only popculture, but of twenty-first century business.


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Friday, Apr 13, 2012
In 1994, the Punisher and his fixer Micro stormed into Riverdale, believing that such a squeaky-clean town must be hiding its own special breed of hell…

Growing up, I remember an episode of Full House that crossed over with Family Matters. At the age of 8, my mind was blown at seeing Urkel interact with the Tanner family, dancing with Uncle Jesse. Seeing a character displaced into an unfamiliar setting was fascinating. At the time, I thought it would certainly be the most unexpected and delightful crossover I would ever experience. Then, I stumbled into the world of comics where the unthinkable often happened, for better or for worse. 


Comics where characters published by one company meet those published by another company have always had a special appeal. In the first major inter-company superhero crossover DC’s Superman met Marvel’s Spider-Man. Since that landmark 1976 event, from time to time, comic readers have witnessed unbelievable meetings on the printed page.


The X-Men met Kirk and Spock. The Savage Dragon fought crime with the Teenage Mutant Ninja Turtles. Batman brawled with a Predator. Seeing characters in unfamiliar settings, interacting with other characters they should never meet, remains a captivating storytelling device today.


It’s fitting that the best crossover in the history of the comic medium is also the most absurd. In 1994, two contrasting universes merged for a single, unforgettable experience when the Punisher occupied Riverdale in a 48-page, ad-free issue. Archie Meets The Punisher is surely the strangest crossover event in all of media, yet it excels in every aspect.



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