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by shathley Q

23 Jun 2009

Could it ever have been any other way?

In The Ultimates, writer Mark Millar offers a radical inversion of a popular Marvel theme; superheroes and the media. Spider-Man, Daredevil, the Fantastic Four and even mainstream Marvel Avengers have never been strangers to media scrutiny, but with The Ultimates, Millar provides something of a reversal in a team that relish media attention. The media often being cast as an antagonist in Marvel stories, always seemed to foreshadow a moment when a superhero, or group of superheroes, would actively embrace media attention. The other side of visual equation, the collaboration between superheroes and military intelligence has similarly been a Marvel mainstay, with such heroes as The Hulk, Wolverine, Iron Man and even Captain America himself either confounding or aiding in military operations.

The power of this Millar-Hitch image comes by way of a number of vectors, not least of which is the image’s resilience at imbricating the reader in the act of storytelling. Does Captain America somehow belong among the bright lights of Times Square? Is his joining the vibrant bustle of NYC nightlife a foregone conclusion? And if that reading is imposed, does it signal the presence of the military as somehow sinister? Or could an entirely different narrative arise from the panel? Is the bustle of city life at night somehow unsafe? Is the encroachment of advertising the means to subliminal control of the populace? Is the government, in an effort to intervene and protect the lives and property of its citizens, correct in enlisting the aid of superhumans?

Does the true danger lie with the military sworn to protect citizens, or with the city that despotically organizes the minds of civilians? The true power of this panel lies not in its search for an answer to this question, nor in the visual of the superhuman dwarfed by both military and media, but in Millar and Hitch’s skill in posing the question.

by PopMatters Staff

23 Jun 2009

A rather opaque video from the directorial vision of Clyde Petersen.

by Sarah Zupko

23 Jun 2009

Where last week was a major drought, save for some stellar Americana from Ha Ha Tonka, this week is an embarrassment of riches. Even records that wind up being a disappointment like Mars Volta’s latest are still worth a listen or two. The week is packed with the sort of stuff that makes indie fans salivate (Sunset Rubdown, Dinosaur Jr., Tortoise), while still offering solid choices for middle of the road rock fans with new platters from Pete Yorn, the Gossip (digital only until October), the Lemonheads and Cheap Trick.

Dinosaur Jr. - Farm: J Mascis, Lou Barlow, and Murph resurrected the original band line-up in 2007 for the critically acclaimed Beyond and they have stuck with it. Leaving the majors behind for a respected indie label, Jagjaguwar, the group continues their anthemic sound, underpinned by J Mascis’ guitar hero riffs.

The Mars Volta - Octahedron: The former members of At the Drive-In continue their prog rock explorations, albeit at a lower volume and slower pace. Omar Rodríguez-López and Cedric Bixler-Zavala have both labeled the album their “acoustic” effort that, while not entirely accurate, does hint at the intent here.

by PopMatters Staff

23 Jun 2009

Fantasies finds Metric and their illustrious front woman at a pivotal moment in their career. “If I stumble/Their gonna eat me alive,” Haines confesses on album opener “Help, I’m Alive”. The LP follows suit with this type of self-effacing frankness, but goes a long way in not abandoning its more labored pathos.—Daniel Rivera

by PopMatters Staff

23 Jun 2009

Sonic Youth ripped through “No Way” off their latest album The Eternal last night on Late Night With Jimmy Fallon. Zach Schonfeld called the song, “a fantastic Thurston Moore contribution that seems to marry this record’s driving rock foundation to Rather Ripped’s vivid melodicism.”

//Mixed media
//Blogs

Players Lose Control in ‘Tales from the Borderlands’

// Moving Pixels

"This is an interactive story in which players don’t craft the characters, we just control them.

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