While I was playing the final episode of Telltale Games' first season of its Fables prequel game, The Wolf Among Us, I was struck by just how many genres it cycles through before its conclusion. It's a locked-parlor mystery. Then it's an action movie. There's melodrama in there. One scene is straight-up horror. Then it's a legal drama.
Previous episodes covered even more genre territory, from noir to surreal fiction to police procedural, but it wasn't until this episode that it dawned on me that Telltale was honoring the storytelling style of Fables, which started as a whodunnit and quickly became beyond categorization in its genre-hopping. Fables isn't just a series about storybook characters, it's a story about stories, and Telltale gets that. This final episode, "Cry Wolf," absolutely proved it.
I'm not even close to kidding when I say that one of the most exciting things about life in 2014 is that we're experiencing an amazing renaissance of Sailor Moon. Not only has the manga been reissued in its entirety from Kodansha, and not only is the classic series being released uncut with two episodes every Monday on Hulu, but Pretty Guardian Sailor Moon Crystal, a new series based on Naoko Takeuchi's original series, made its worldwide premiere last weekend.
This is, for someone who loves Sailor Moon as much as I do, a pretty big deal, and Crystal's first episode lived up to the hype by being an absolutely gorgeous new version of Usagi's first outing as Sailor Moon. The thing is, Crystal was designed to be a far more strict adaptation of the source material, and while it definitely succeeds on that front, that's also its biggest problem.
The Marvel Unlimited app is a gigantic, messy cache of awesome and terrible old comic books: a library of 13,000 or so back issues of Marvel titles, available on demand for subscribers with tablets or mobile phones. Like any good back-room longbox, it’s disorganized and riddled with gaps, but it’s also full of forgotten and overlooked jewels, as well as a few stone classics. In Marvel Unlimited Edition, Eisner-winning critic Douglas Wolk dives into the Unlimited archive to find its best, oddest and most intriguing comics.
Two spin-offs of Guardians of the Galaxy launch in recent weeks: The Legendary Star-Lord and the already-surprise-hit Rocket Raccoon. Marvel Unlimited's got a fairly thorough, if not quite complete, selection of most of the Guardians' previous appearances, especially the ones in the Annihilation/Annihilation: Conquest/Annihilators sequence. But their prehistory is worth digging into, too, and there's some choice proto-Guardians material in the archive.
Inexplicably cleared in the phone hacking scandal, ComicsAlliance is back with the fifth installment of Original Spin, the only Original Sin recap that... exists, maybe? We don't know! We haven't done any research. That's what makes us a name you can trust.
The Watcher is dead. Nick Fury is also dead. A bunch of disparate heroes spent four issues wandering around crime scenes before discovering they're maybe all working for Nick Fury, who isn't dead, and was maybe responsible for all those crime scenes, so.. what? The Watcher probably also won't be dead, eventually. That's the story so far. With issue #5... that's... still the story, because nothing really happened. But here's a recap anyway!
The early ’90s were spoiled for choice when it came to comic book adaptations. Not only was Batman: The Animated Series on the air, but X-Men led Marvel’s push to get on the small screen, diving right into the often convoluted continuity of everyone’s favorite mutants, luring in a generation of fans, and paving the way for cartoons to follow. That’s why we’ve set out to review every single episode of the ’90s X-Men animated series.
This week, it's the finale of "Beyond Good And Evil," and honestly, your guess is as good as mine.
Internet privacy is easily one of the most confusing realities of life in the 21st century. It's the best ongoing story in collective awareness, complete with heroes, villains, victims and martyrs, turning points, and insane plot twists that regularly put The Good Wife to shame. PRISM, Wikileaks, Julian Assange, Chelsea Manning, Edward Snowden, XBox One, social engineering, News International, Anonymous, and even our stupid Facebook updates are all involved. Every player and plot-line are all tangled up in a worried knot that gets bigger and more complex every year. It's all one story, and we're all living it; spectators, beneficiaries, victims, and contributors. It's one of the defining issues of our age, a still-forming zeitgeist that could be explored for years to come.
Just not in comics. Because nobody's going to top Brian K. Vaughan, Marcos Martin, and Muntsa Vicente's The Private Eye.
Q: Aside from Superman and Captain America what hero is the most fitting representation of The United States? -- @white_dolomite
A: You know, just before I sat down to write this, I was reading some Judge Dredd comics and thinking about how fascinating the idea of Dredd as this distinctly, explicitly American icon, covered in eagles and flags and badges and guns and riding on a motorcycle that is also covered in eagles, flags, badges and guns is when you consider that he's a view of America created by people who aren't Americans. There's a lot that goes along with that, and it's fun to think about when you're reading through those stories and figuring out what defines them.
But when you get down to it, that doesn't mean that he's the best representation of the good ol' USA. Assuming you mean "hero" as in "protagonist" and not just as in "masked crimefighter," then the answer's easy. The quintessentially American comic book character is Scrooge McDuck.
There had certainly been plenty of heavily-merchandised blockbusters before, but the Batman '89 phenomenon affected pop culture in so many ways and crept into every dimension of commercial entertainment. Twenty-five years ago, it was just always there; part of the atmosphere of the era, reflected wherever you turned. From candy-filled Keaton heads in supermarket checkout aisles, to endless souvenir magazines on newsstands, to articles in newspapers and magazines, to the packs of trading cards and stickers on countertops, to Batmobile toys in Happy Meals, the entire world had gone Batty.
Twenty-five years later, we've reached out to some of our favorite creators and entertainers to look back on the summer of Batman.
Warner Bros. Animation's DC Nation shorts produced some pretty fantastic material and shined a mass media spotlight on a lot of obscure DC Comics characters. But my favorite, hands down -- and that of many viewers -- was the animated reimagining of Dan Mishkin, Gary Cohn and Ernie Colon's Amethyst, Princess of Gemworld. Over the course of seven 75-second shorts produced, directed and designed by artist and animator Brianne Drouhard, Amy Winston was upgraded from an '80s straight-faced sword-and-sworcery concept to a a synthesis of gamer culture and magical girl anime, starring a contemporary young woman pulled into a funny and dangerous video game world where she's a princess of destiny set on a quest to battle skeletons, slay dragons and save the world.
With the series of shorts concluded and available to watch online, we spoke to Drouhard about how she pitched the fan-favorite story, the trials of adapting her illustrating style for animation, and why it was important for Amethyst to have video games in her life. We also got plenty of gorgeous Amethyst art from Drouhard in the process.
As part of the marketing blitz for the movie, the comic version of Batman naturally sold batloads [Editor's note: we apologize for nothing] and is a fixture of many a 30-something's comics collection. In an effort to extort as much as they could from the fanbase, DC Comics made the book available in two formats: a newsstand-friendly comic that set readers back a mere $2.50 and a prestige format version) with a painted cover and spine) that retailed for $4.95. Personally, the cheaper version’s cover has always appealed to me more, but I’ll admit that Batman kicking a clown has a visceral appeal to me than Batman standing on a gargoyle, even if it's nicely rendered. No matter what version you bought though, the interiors were the same, and they were among the best drawings of Jerry Ordway's already distinguished career.
Unfortunately, even with scripter Denny O'Neil's bonafides as one of the people behind the 1980s version of the caped crusader that inspired the film and Ordway's extraordinary ability to render likenesses, the comic is inert and suffers from a complete inability to be compelling on its own. That's something that can't be said about Burton's movie, as scattershot and disorderly as the final product is. Even if you're not a fan of the movie (and I'm not), if it's on a screen, you're going to watch its weirdness unfold — you can't say that about the comic version, no matter how pretty it is.
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