Doomsday Clock is more of a “Fuck You” to Moore than HBO’s Watchmen
Johns’ reconstruction of the superhero genre which Watchmen deconstructed directly undermines Moore’s message
Alan Moore’s Lost Girls: Art or Smut?
“Fiction and Fact: only madmen and magistrates cannot discriminate between them.”
The Real Blaspheme of Mark Russell’s “Second Coming”
Second Coming is didactic to the point that the message gets in the way of solid storytelling.
Klaus and the Crying Snowman
Klaus is mythological enacting the same celestial beneficence our agrarian ancestors relied upon back when Yuletide meant something to someone for the very first time
Juxtaposing the Mundane and Marvellous in Mister Miracle
Man is egomaniacally narcissistic, sacrilegiously so. King captures the admixture of mundanity and mythology that we imagine our own to be.
Doomsday Clock #2
“We are torn between nostalgia for the familiar and an urge for the foreign and strange. As often as not, we are homesick most for the places we have never known.”
Snyder Gets Even More Meta in Metal #4
Snyder sees the thin divide between awe and awful, between textual and metatextual. Then he burns dow that divide to ashes.
Klaus and the Crisis in Xmasville
Klaus is Christmas’ Superman, replete with red cape, an indefatigable product of the greatest imagination of our generation, a perfectly designed emblem of highest selves.
Doomsday Clock #1
After years of an admixture of apprehension and anticipation for the inevitable continuation of Watchman, Doomsday Clock #1 does not disappoint.
Metal #3 pits the Dark Knights vs. The Worlds’ Greatest Detective
Snyder’s thesis is this: Batman would not be made better by having powers; such would prove a crutch, over-reliance on which would cripple Bruce’s brilliance.
