Recent Features
Heavy Metal or Why the All-New Batman Totally Rocks

Bruce Wayne who? The most entertaining Batman story in sometime finds Commissioner Gordon donning the cowl.

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What’s Wrong With X-Men Bobby Drake’s Coming Out Story?

There are a lot of unwritten assumptions about Iceman's sexuality in All New X-Men #40.

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What’s at Stake with Warren Ellis’s ‘Injection’

Warren Ellis tackles the same theme from Marlowe's Faustus, and carries the grander ambitions of comics with him.

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John McCrea’s Fun-Loving, Magical Terrors in ‘Mythic’

John McCrea’s combination of bananas-crazy and legit-scary artwork is enough to keep one enthusiastically following the title all on its own, patiently waiting for the meat of the plot and/or characters to reveal themselves in full.

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Four Great Things About ‘Nonplayer’

It's been four years since the release of the first issue of Nonplayer, but it's been well worth the wait.

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‘Prez’ Answers Thomas Jefferson’s Call for a ‘Dangerous Freedom’

Thomas Jefferson said, "Rather a dangerous freedom than a peaceful slavery." The stunning comic Prez shows the true meaning of that statement.

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It’s Time to Hear the Truth After Growing Up Spidey

"Spider-Man No More", like other superhero stories of loss, are so universally true, so much about loss, responsibility, and guilt.

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Before Charlie Hebdo: The Cartoon Wars

Why is it that cartoons, more than any other expressive form, have incited the wrath of religious backlash?

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Will the ‘Supergirl’, ‘Lucifer’ and  ‘Legends of Tomorrow’ Shows Be Transmedia or Tranq-Media?

Our expectations around for these upcoming TV shows get to the very heart of transmedia as a phenomenon.

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The Many Faces of Love in ‘The Names’

Our three-part series looking at Peter Milligan and Leandro Fernandez's The Names draws to a close with a love note of sorts.

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‘New Life and New Civilizations’: The ‘Star Trek’ Saga in Comics

This is a deep and intelligent look at the various incarnations of Star Trek on the gridded page -- and not just from super fans and convention-goers.

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The Heightened Reality of the Art in ‘The Names’

Today, our series looking at Peter Milligan and Leandro Fernandez's The Names continues, with a focus on the art of the comic.

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There Are No Strings on Me: Ultron and the Top 10 Comicbook Robots

Ultron may be the most famous, but he's hardly alone in the ranks of comicbook automata. Here's a list of the 10 most interesting and important robot characters in comicbook history.

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Loyalty and Tribalism in ‘The Names’

The nastiest, scariest, most threatening villains in The Names are a group of betrayers within the Names known as the League of Psychopaths, and this is only the beginning.

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A Job for Superman: On Multiversity, Convergence and These Precious Mortal Hours

The Multiversity: Ultra Comics #1 begins with a return to the beginning of the superhero genre, but not the real beginning.

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Black Widow and the Burden of Being the Female Avenger

All too often, when you have a token female in a story, that character's primary super power is simply that she's a girl.

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Three Fully Formed Concepts in First Issues: ‘The Maximortal’, ‘Deep Sleeper’ and ‘Rebel Blood’

The first time I read The Maximortal #1, I honestly believed it was a self-contained one-shot. Was I ever wrong.

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Why They Fight: A Brief History of Batman Battling Superman

Over the course of any relationship, especially ones that last three quarters of a century, there's bound to be some friction, some tension and some overall sour times.

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Cars That Will Kill You, An ‘Avengers: Age of Ultron’ Triptych Finalé

Thus far, we've seen director Joss Whedon leverage the history of comics fandom and of Hollywood film in a grand and postmodern experiment. Here's why.

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Avengers Age of Ultron, a Triptych’s Second Frame

Avengers: Age of Ultron is an amazing spectacle and there's very little you don't see. But if there is something unnoticed, it might be how seamlessly Whedon crafts the movie into the history of Hollywood.

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More Recent Features
//Mixed media

Because Blood Is Drama: Considering Carnage in Video Games and Other Media

// Moving Pixels

"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.

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