Politics in superhero comics has always been tricky because a) vigilantism is inherently reactionary and b) most superhero writers don’t know much about politics, to say nothing of depicting it with nuance. It’s for these reasons something like DCU: Decisions exists, DC’s 2008 efforts to capitalize on the election fever created by the multicultural multigenerational movement
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Event comics are not usually good. They’re not meant to be; companies rely on them to goose sales, wrap up storylines and plot new directions for characters. There are so many moving parts, so many masters to serve, that it should come as no surprise that even talented creators struggle churning out something readable. So
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I hate to be dipping back into the Ron Zimmerman well so soon after my last foray, but it’s a fertile source of hackery. As I’ve said in a previous column, Zimmerman had a burst of work at Marvel for a year or two and then essentially faded away. His heavy hitter projects include Rawhide
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Like all good Americans, I have an unhealthy fascination (obsession, perhaps) with former Tonight Show host and all-around funnyman James Douglas Muir “Jay” Leno. He stands for everything I don’t: denim, classic cars, Cool Ranch Doritos, being Italian. How exactly did he become a mainstay of American popular culture for decades despite not being funny or
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I thought for my latest entry into my Untitled Comic Book Column I should continue with my theme of celebrities thoughtlessly shitting out comics, so here’s Iron Man: Viva Las Vegas by Jon Favreau (Chef) and Adi Granov. Again, this has all the makings of a classic Hollywood comic. Favreau was fresh off the surprise sensation
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