There's a depth to Lantern City that great artists like Victor Hugo and J.D. Salinger and the Marx Brothers have been struggling with since the very beginning.
Origins aren't predicative of outcomes. But the consequences of choices are compounded over time. This becomes remarkably apparent with Lantern City's choice of genre in steampunk.
On its surface Southern Cross is a simple tale—a beloved sister dies, a loving sister hops an interplanetary transport to reclaim the body and investigate the death. But there hidden depths here, both literary and human.
Thomas Jefferson said, "Rather a dangerous freedom than a peaceful slavery." The stunning comic Prez shows the true meaning of that statement.
Wonder Woman stands at the edge of a dark and foreboding forest. It's not a real vacation if there isn't a little bit of fear and loathing.
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.