Cold Wind April 16, 2014 Cold Wind Nicola Griffith Old ways can outlast their usefulness. What Mario Scietto Says April 15, 2014 What Mario Scietto Says Emmy Laybourne An original Monument 14 story. Something Going Around April 9, 2014 Something Going Around Harry Turtledove A tale of love and parasites. The Devil in America April 2, 2014 The Devil in America Kai Ashante Wilson The gold in her pockets is burning a hole.
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April 18, 2014
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April 13, 2014
Game of Thrones, Season 4, Episode 2: “The Lion and the Rose”
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April 11, 2014
This Week’s Game-Changing Agents of S.H.I.E.L.D. Was Exactly The Problem With The Show
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April 8, 2014
Let’s Completely Reimagine Battlestar Galactica! Again. This Time as A Movie!
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April 4, 2014
The Age of Heroes is Here. Captain America: The Winter Soldier
Chris Lough
Showing posts by: Jake Hinkson click to see Jake Hinkson's profile
Wed
Apr 16 2014 2:00pm

Swamp Thing Alan Moore DC ComicsAlan Moore likes sex. This makes him something of an anomaly in the world of comic book writers. I’m not saying that other scribes don’t enjoy the pleasures of the flesh in their off hours, but relatively few are interested enough in the erotic as a subject to make it a part of their writing.

Of course, there are all kinds of reasons for this prudishness—not the least of which is industry censorship—but the result is that comic books are largely a sex free zone. To the degree that sex does appear in comics, it mostly takes the form of suggestively drawn female characters. At best, that’s an adolescent way of dealing with sex, and at worst it’s something darker—with the sex drive either implicitly rejected or sublimated into violence.

[Alan Moore is the great exception.]

Thu
Feb 20 2014 10:00am

Captain America is square. He’s always been square, and he always will be square. It’s built into the DNA of the character. When Joe Simon and Jack Kirby launched the adventures of the Sentinel Of Liberty back in 1941, he was pure propaganda—a star spangled hero punching out the Axis Powers. Maybe that’s why, after the war ended, the character simply disappeared. “Old soldiers never die,” General Douglas MacArthur famously told a joint session of congress, “they just fade away.” It’s probably for the best that Cap faded away before the onset of the jingoistic, paranoid fifties. (A brief, failed attempt to reintroduce the character in 1953 as “Captain America…Commie Smasher!” gives us a glimpse of what we avoided.) When he made his reappearance in the Silver Age, he became the thawed out super soldier that we all know and love today: still square, sure, but more of a ‘roided up crime fighter than a political cartoon.

Even more than most comic book creations, however, Captain America has retained an intrinsic symbolic function. (All but unavoidable when half your name is America.) Over the years, various writers—Roger Stern, J.M. DeMatteis and Mark Gruenwald—have tapped his symbolic quality and used the character as a springboard to deal with various social problems (racism, extremism, homophobia), shaping him into one of Marvel’s most fascinating creations.

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Fri
Dec 13 2013 11:00am

Ruth Roland The Timber Queen

We’re in a new golden age of female ass-kicking. When Gal Gadot takes up the mantle of Wonder Woman in the next Man Of Steel film, she will join popular headbusters like Katniss Everdeen, Black Widow, and Hit-Girl. These cinematic heroines, however, belong to a lineage that stretches back a hundred years—past Buffy, past Sarah Connor, past Ripley, past Foxy Brown—to the earliest days of motion pictures. Today’s female action heroes owe a lot to the serial queens of silent cinema.

In the 1910s—years before the passage of the 19th Amendment granting universal suffrage—moviegoers flocked to see weekly action serials, and during this period, the biggest stars of action films were women. Week in and week out, these heroines found themselves in ever-escalating trouble.

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Tue
Nov 5 2013 6:05pm

V for Vendetta

It was 1988. I was 12 years old, squeezing through the crowded and cluttered aisles at Little Rock’s only comic store, when I saw a poster of a cloaked, chalk-faced figure running across the top of a wall. The copy on the poster read:

FASCIST
BRITAIN 1997.
EVERYONE KNOWS YOU
CAN’T BEAT THE SYSTEM
…EVERYONE BUT V.
V FOR VENDETTA
A ten issue series by
ALAN MOORE & DAVID LLOYD

I’d never seen such a thing. My comic book buying in those days was exclusively of the Batman, Captain America, and Green Lantern variety. I didn’t know what “fascist” meant, had no idea who Moore and Lloyd were, and had no good reason to want to collect a ten issue series of English comic books.

But something in the stark imagery of the poster appealed to me. (It was around this same time that I discovered the 1950 Edmond O’Brien flick D.O.A, which kicked off my love of film noir, so maybe I was just ready to take a plunge into a certain kind of dark crime story. Or maybe it was something in the Arkansas water.) I went back a week later and bought issue one.

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Wed
Oct 9 2013 4:00pm

When a recent Star Trek Creation convention voted J.J. Abrams’s Star Trek Into Darkness the worst film in the franchise, some industry people (including the film’s screenwriter) shook their heads. The movie made good money (though not the breakaway box office that some predicted) and notched generally favorable reviews. So what’s the problem? Is this just a case of some Trekkers and fanboys being overly critical? Or does it point to larger, long term problems? After all, while the new Trek films have been built to be general audience pleasers, they still rely on the fanboys to be their backbone. What happens to Star Trek if the Trekkers start to abandon it?

Maybe the best way to answer that is to look at ways the franchise could right itself. Here then are some suggestions...

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Thu
Sep 19 2013 9:00am

Metropolis Fritz Lang Dystopia

With high profile films like Oblivion, AfterEarth, and Elysium offering up new (or recycled) visions of humanity’s hopeless future, 2013 might go down as the Summer of Doom. It’s worth noting, however, that dystopian sci-fi not only isn’t new, it’s the bedrock of the genre. After all, Fritz Lang’s 1927 Metropolis—which hypothesized a dehumanized future society not far removed from the those presented in today’s would-be blockbusters—is considered by some scholars to be the first fully-formed, feature-length science fiction film. For as long as filmmakers have dreamed of the future, they’ve presented nightmare scenarios of the world to come, and in the years since Lang’s masterpiece, filmmakers and audiences alike have never seemed to lose their enthusiasm for the end of the world—or, at least, the end of the world as we know it.

Dystopian science fiction comes in many shapes and sizes. Some are multi-million dollar behemoths, while others are quiet character studies. We can see the varieties of these films falling into two broad categories:

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Tue
Sep 3 2013 9:00am

Batman Superman Fight!

With the recent news that Ben Affleck will play Batman in the Man of Steel sequel arriving in 2015, now seems like a good time to look back on the often fraught relationship between the two most iconic characters in the superhero pantheon. If comic books comprise a large part of the canon of our new American mythology—and there is every reason to think that they do—then the relationship between Superman and Batman, with their opposing views of heroism and justice, reflect our conflicted culture in interesting ways.

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