Our most recent pieces about comics.
Sony’s 2018 film, Spider-Man: Into the Spider-Verse (dirs. Bob Persichetti, Peter Ramsey, and Rodney Rothman), is quite well aware of its comic-book origins and place within the milieu of superhero films.
Jillian Tamaki’s “SexCoven,” originally published in Youth in Decline’s Frontier #7 in 2015 (now appearing in her collection Boundless (2017) presents a complex narrative of nostalgia and loss over a shared cultural moment, for a time when an .mp3 with the potential to alter consciousness was passed around networks and social circles.
Contributor Evan Ash corrects the simplistic narrative that focuses on the 1950s panic over comics, examining an earlier anti-comics movement from 1940-1944.
In book one of My Favortie Thing is Monsters (2017), Emil Ferris establishes a unique means of juxtaposing and interconnecting the worlds of comics and the fine arts to reconcile the problems her main character, Karen Reyes, faces.
Shawn Gilmore connects two works that seem to be from very different regimes of comics: Michael Nicoll Yahgulanaas’ Red: A Haida Manga (2009) and Alan Moore & JH Williams III’s Promethea #32 (2005), both of which have formal elements that extend beyond the traditional boundaries of the page or bound codex, requiring readers to imagine another, larger level of comics organization.
Amazon’s recent series The Boys (2019), an adaptation of a comic-book series of the same name, features The Seven Tower (owned by Vought International), a digital creation built to blend in with the New York City skyline while also extending the show’s real-world filming location in Toronto.
Shawn Gilmore examines Canadian comics artist and illustrator Fiona Smyth’s “Skin of Fate,” originally published in her magazine Nocturnal Emissions #3 (1991) and #4 (1992), using the surreal tale as an introduction to some of the shared stylistic and conceptual elements in her work.
Kelly Williams argues that elements of the original Dark Phoenix Saga in its comic-book form—namely the presence of Jason Wyngarde/Mastermind and the illusions he casts to control Jean Grey—continue to be missing from film adaptions, such as the upcoming Dark Phoenix (dir. Simon Kinberg, 2019), suggesting that women cannot handle cosmic abilities and that once they gain power, corruption is inevitable.
From Power Man & Iron Fist vol. 3 #10 (Marvel, January 2017).
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