The early 2000s was an interesting decade. Because of the changing technology of the time and the rise of CGI and 3D some studios were able to rise to the challenge and others struggled. Without further ado, let’s discuss the early 2000s.
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Sex, race, politics and laughs in Corner Gas, a family show and one of the greatest sitcoms of all time.
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THE POPE’S COMICS: What does Superman have in common with Perseus, Achilles, or Robin Hood? Check out this breakdown and find out! #Superman #mythology #heroindex @DCComics #thepopescomics
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PATRICIA HIGHSMASH: A 20-year retrospective on Grant Morrison’s New X-Men. Politically savvy, fashion-forward superhero soap opera examined by multiple angles. Every chapter of the book, every flower of this garden is available here. #NewXMen #XMenMonday
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Dark Knights of Steel, a 12-issue series from @TomTaylorMade and Yasmine Putri will get medieval on the #DCComics universe. #DCDKOS
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Grant Morrison’s New X-Men, Phil Jimenez’s Jean Grey, the fable of the rabbit in the moon, and my 2005 move to help my brain-injured mother. Lessons learned. Dramatic actions taken. Our examinations ended.
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Where we left off last superhero films were just getting their bearings. But in 1978 this all changed. What happened? Let’s find out.
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What does it mean to rewrite old scenes, to revisit old stories, to change characters and plots, to reuse old titles and dress characters in old clothes? A look at the past 20 years of X-Men & where they may go from here.
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Love polygons, hypotrochoid psychology, stars under iron masks, perceptual truth. The reality of comfort objects, the Phoenix and Xorn as jouissance, the X-Men as the object of desire. From Slavoj Žižek to Igor Kordey, Luce Irigaray to Neal Adams, reaching.
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Why Magneto can’t be Xorn? Do we have to bring up Alan Moore to talk Grant Morrison? Why do some critics feel a fascist schoolboy is a tragic hero? How do Frank Miller, Chris Claremont, Kevin Smith affect our reading of Magneto’s downfall?
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An imperfect 1000 page comic, New X-Men by Grant Morrison, Phil Jimenez, Igor Kordey, HiFi, et al, stretches from the past to future even when read today. Self-referential, perpetually topical, entrenched in a mythic past.
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What’s the use looking beyond the fictional narrative at metaphors and artist’s lives, other comics and real life? Can’t have a Grant Morrison New X-Men without Grant Morrison, or their father, or a Marvel Comics, or a comics industry.
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