If recent revelations can teach us anything, it's that Americans will always have a shadow behind us. Since the end of World War II, we have invested so much money and power and authority in our military-industrial complex and clandestine forces that it's categorically absurd to believe that our privacy has been anything but compromised, our national innocence -- if it ever existed -- anything but forfeit. For at least the last twelve years, American soldiers have been engaged in seemingly perpetual wars across the world, while potentially every electronic conversation we've had has been stolen and scrutinized, and the lie we've been told is that it's all been in the name of American freedom.
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Q: What's your favorite final issue of a comic series or run? -- @supergeekmike
A: Back when I was working at the comic book store, my friend Scott once told me that if I really wanted to know what a series was all about, all I had to do was read the first issue and the last issue. Admittedly, this is the same friend who told me that I really ought to start reading Tarot: Witch of the Black Rose, but he had a good point. On those rare occasions in comics where someone can actually build to a last issue, that's where everything about the series can come together. And the results can be pretty great.
I'm starting to get the feeling that Garth Ennis doesn't like heroes very much. I don't mean superheroes, either. His ambivalence toward the spandex set is well-established and can easily be taken as read at this point. But heroes? The men and women we've built up to be larger than life and forces for good, immaculately moral and righteous? I'm starting to notice that he's pushing away from that concept in his work more and more often. He treats heroes like we would treat stereotypes or urban legends. He wants to debunk our idea of a hero, and it shows in his work.
With the 300th and final issue of Vertigo's Hellblazer, out this week, several tumblers shift and lock into place. John Constantine moves to the New 52 on a full-time basis, with a new title beginning in March; the reset button is pushed on his continuity, and the most writer-driven character of the last thirty years is yanked from the comfort and promise of a Mature Readers label and forced to grow up again in a PG-13 world; and the longest-running title in the Vertigo line concludes a twenty year run, as the imprint focuses exclusively on creator-owned comics. It's a sad time for misfits everywhere, as Hellblazer is o
We didn't realize when we set out to list our favorite comic books of 2012 that it had been such a fun year to be a fan of the medium that we all love so much. The last twelve months offered readers a wide variety of work ranging from the most crowd-pleasing superhero epics to the most idiosyncratic of indies; the return of much missed mangaka and the emergence of exciting new talent; a new crowd-sponsored visibility for self-publishing; and the ascension of the fan artist from bedroom dreamer to Tumblr tycoon. It was a busy a
Garth Ennis, Darick Robertson and Russ Braun's The Boys is a series that makes a point out of mining the darker underbelly of the superhero genre, in the process exposing more violent and sexual elements than many are comfortable with... including, it seems, o
Dynamite Entertainment got really real last weekend at New York Comic-Con, coming out swinging with numerous new projects from an impressive roster of mainstream creators who've been given free rein on brand new series. Among them, Rick Remende
So, what's the deal with Darick Roberston & Garth Ennis's The Boys? Is it a gross-out superhero parody, the book that "out-Preachers Preacher?" Is it a more straightforward narrative, an examination of how power corrupts? Is it a rocking action movie where hard men fight men with hard skin? Is it a story about manipulation and naïveté? Let's go with "all of the above." There are two issues left in Ennis and R