Comic Books & Graphic Novels

“Rembrandt of the Comic Strip”

November 16, 2007
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“Rembrandt of the Comic Strip”

I’m not a comic-book/graphic-novel lover nor a hater. The form just doesn’t grab me the way it does many other people. I recognize it as a medium where a good deal of very interesting work is being done, however, so this recent USA Today article on Milton Caniff caught my eye. Caniff created several popular comic strips syndicated for newspapers, notably Terry and the Pirates and Steve Canyon, which started in 1934 and 1947, respectively. As the titles suggest, the strips brought a pulp-fiction sensibility to what had been the funny pages.

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The Admirable Conciseness of Fantastic Four: Rise of the Silver Surfer

June 23, 2007
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The Admirable Conciseness of Fantastic Four: Rise of the Silver Surfer

  Fantastic Four: Rise of the Silver Surfer topped the U.S. box office during the past week, performing very well at the box office while garnering generally negative reviews. The audiences are right on this one (as usual).

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Batman Begins . . . Again

April 23, 2007
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Batman Begins . . . Again

What Batman Begins says most powerfully is how bad the earlier films in the series were—and how crippled by stylistic cliches today’s Hollywood action films have become. The best way to experience Batman is still to read the original DC comic books from years ago and watch the TV cartoon series. This one ain’t bad, but they’re the real thing.

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Conan the Influential Barbarian

December 13, 2006
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Conan the Influential Barbarian

John J. Miller of National Review has put together a nice overview of Robert E. Howard’s "Conan the Barbarian" tales, for the Wall Street Journal. Miller notes that Conan has been a highly popular character in the original pulp tales and subsequent comic books, movies, and simply as a widely known fictional character. Miller’s article is well worth reading as an introduction to this important literary phenomenon. Conan was the muscular, aggressive hero of 21 narratives the lonely, unhappy, Texas-born and -based Howard wrote in the pulp era. Miller does a good job of describing the character and his influence: With Conan, Howard created a protagonist whose name is almost as familiar as Tarzan’s. In his influential essay on Howard, Don Herron credits the Texan with begetting the "hard-boiled" epic hero, and doing for fantasy what Dashiell Hammett did for detective fiction. Suddenly, the world–even a make-believe one such as Conan’s Hyboria–was rendered seamier and more violent, and Howard described it in spare rather than lush prose. Conan has a knack for locating damsels in distress, but he is no knight in shining armor who piously obeys a code of chivalry. Instead, he is a black-haired berserker from a wild

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The Art of “The Batman”

October 28, 2006
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The Art of “The Batman”

I’ve been out of town at a conference for the past few days, and haven’t had much of a chance to post items on the site. I’m back, however, and you can expect the flow of wisdom to become a ferocius torrent. One thing that struck me recently was upon viewing an episode of the current Warner Bros. cartoon series The Batman, which runs on KidsWB, a Saturday morning block of cartoons. The program premiered in 2004 and is in its fourth season, somehow. What is not particularly interesting is the narrative I saw, from one of the first-season episodes. The series, from what I saw and have been able to glean from various sources, deals with Bruce Wayne’s early years as the Batman, in which he establishes what the character will be like in his prime, as depicted of course in numerous other media products over the past three quarters of a century. In sum, the show covers Bruce’s early years as the Batman. Not surprisingly, the story I saw involved several fanciful villains led by a particularly ambitious and egotistical one, in this case the Penguin, whom the Batman must subdue lest all sorts of badness rain down

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Psych Finale—Finally Satisfying

August 27, 2006
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Psych Finale—Finally Satisfying

Finally, the USA Network comedy-mystery Psych came up with a fully satisfying episode, last Friday night. The season finale hit all the right notes: it had a solid mystery at its center, including a couple of pleasing, unexpected twists; the setting, a comic book convention, was interesting and unusual and was handled well, especially in revealing that a couple of the top supporting characters were comic book fans; the setting was tied in very strongly with the murder mystery, particularly in the way it is used to place clues to the mystery throughout the episode and motivated the crimes; the way Sean, the main character and fake psychic private detective, used his persona as a psychic in order to obtain clues from a convention hall full of people and expose the murderer in public; Sean’s attempt to romance one of the suspects was handled with greater humor than usual, because his lack of progress was funnier and more dramatically interesting than the greater immediate success he usually seems to have in this part of the story; a subplot involving the prima donna nature of even the most minor celebrities (guest actor George Takei from Star Trek); the angry police lieutenant

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Audiences, Critics Disagree on Summer’s Superhero Movies

August 18, 2006
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Audiences, Critics Disagree on Summer’s Superhero Movies

The Hollywood Reporter observes that audiences and critics differed greatly on the merits of the two big superhero movies of this summer:   As summer nears its end, "X-Men: The Last Stand," which nabbed middling reviews, seems to have exceeded expectations with a $441 million worldwide gross, while "Superman Returns" — though it earned a strong, positive ranking of 76 percent on RottenTomatoes.com — has yet to break the $200 million mark domestically. I agree with the audiences on this one. X-Men: The Last Stand was not exactly profound, but at least it kept things moving and had some interesting characters. The makers of Superman Returns clearly tried very hard, but the film had no charisma whatever, disastrously poor chemistry between the lead performers, and no charm at all. The Christian imagery was an interesting touch and made the film deeper thematically, but the entertainment and artistic value did not match up with it. And the idea of Superdude having had a child with Lois Lane while she married another man is just the sort of clever concept that filmmakers ought to know better than to do. No wonder, then, that audiences thought it OK but not a must-see or a

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