writes nerdy things, celebrates those things as an English teacher, and is the co-founder of the production house ADK MOGUL. He lives in the mountains. Thanks for reading; feel free to leave a message, and please don't ask if he's D(e)Press(e)d.
I like that she has boots to protect her legs, Psylocke’s leg straps to protect her thighs, and plates to protect her shoulders and such, but yeah this isn’t 1993 where showing some belly-button is still a thing. Oh and is she crying blood? That’s just awesome. That’s her mask? Classy.
This is all really a cover for not being able to bring back Gaiman and Moore’s take on Marvelman right?
The first thing that occurred to me when I started reading this book are the panel progressions of this 590 page monster. It averages about 7 panels a page and there was maybe a handful of splash pages in the entire novel.
If you’re in need of feminist science fiction you should run (don’t walk) to buy this really amazing book, which sets the precedent for best feminist science fiction work in the twenty-first century because it plays with many things: identity, body recognition, and deals with these concepts in a frank manner that I really did not read any gender bias. The women in this book are strong, capable, and fallible—though that doesn’t mean that women must be fallible it’s just that most humans are and the main characters of this book are relatable. Though why must one feel the need to say that “the women in this book are strong” can’t they just be? They simply are—great.
Written and drawn by independent comics legend Terry Moore (Strangers in Paradise) this is quite the departure from his previous independent work since it’s a science-fiction epic based around an alloy that attaches itself to a photographer after a nuclear explosion kills its inventor. What follows is Bible theory, Apocalyptic rants, the return of Cain and a de-aging detective who goes from brilliant to childish in a manner of pages. The plot heavy book goes from talking head monotony, to gross and violent action sequences with tongue firmly in cheek. Eventually it grows a sense of humor at page 400.
Moore’s black and white line art calls back some Terry Dodson in cheeky expressions and surprise. Going from humanistic reactions to some more cartoonish elements, Moore can go from detailed personal reactions to mind-gripping horror. It’s a great piece of independent science fiction.
I had this up elsewhere and just found out the site I had it on became a different site and kind of sucked. So I spent today putting it up on youtube.
Apologies in advance, the 4th & B in San Diego is basically a cinderblock box and more about the Snoop Dogg (who played a couple nights after this) and less about the spoken word. Also I shot this on my then newly acquired iPhone 4, and didn’t realize at the outset the manner of Herculean feat it would be holding it steady for 17 minutes.
All that being said, we managed to catch all three performances of this (w00tstock Portland & SDCC 2012, and the panel performance at SDCC itself) and it’s really a great little piece on writing and life and Stiltman’s taint.
Enough of that. Sit back, relax, and enjoy Matt Fraction’s presentation of “Batman Dreams Of Hieronymus Machines.”
As mentioned earlier. Thanks, Chad.
This is necessary viewing and probably one of the major reasons why I really embraced the idea of teaching comics.
The thing that I love about Waid is he never fails to get me fired up and trying to stay consistent with my mood and excitement with comics. He’s literally the root of the reason I got into comics and…yeah. Read this and get infected.