
In the second installment of his two-part series on the state of comic book film adaptations, Mark Gallagher critiques their exploitation of fans' good will, as will as the strain it places on media industry talent and trade coverage.
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In the second installment of his two-part series on the state of comic book film adaptations, Mark Gallagher critiques their exploitation of fans' good will, as will as the strain it places on media industry talent and trade coverage.
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In part one of a two-part series on the state of comic book film and television franchises, Mark Gallagher criticizes their exploitation of esoterica and origin stories.
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This second installment of "I, Reboot" dives into the origins of the reboot-as-narrative-analogy and distinguishes "reboot" from "ret-con."
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What is a reboot, then? This is the overarching question of this series of articles and one which I have been wrestling with for six years or so.
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The departure of J. H. Williams III and W. Haden Blackman, the creative team behind Batwoman’s romance with Maggie Sawyer, results in scandal for DC and its fan community.
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This post identifies a couple of key tensions that emerge in trying to reposition Islam as a global brand through marketing Islamic superheroes The 99 as global cultural commodities.
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Ten (or more) media industry news items you might have missed recently.
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Bryan Lee O’Malley’s indie comedy/action/romance series Scott Pilgrim has cultivated a rabid fanbase quick to shove the first book into the hands of any non-comics reader expressing even the vaguest interest in the medium. As they should. Because it’s glorious.
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Ten (or more) media industry stories you might have missed recently.
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The concept of "the season" simply doesn't translate from TV to comic books.
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