Dr. Anna Peppard re-examines a favorite scene from Excalibur #4 a decade after first reading it to consider how its meanings may have changed for her.
Guest writer, Alex Haddad examines three different comics exploring conspiracies to consider how they represent the hybridity of truth and fiction.
The first in our new “Critical Nostalgia” series, revisiting single issue faves from younger days, considers Richie Rich’s desire for his own future ghost self.
Considering how 1990’s The Flash on CBS was a pivotal development to the television superhero genre through fashion.
Cleaning up loose ends from the last year and making some announcements about the next.
Discussing the intersection of collecting and desire, superhero sex, and avoiding spoiler aversion with Dr. Anna Peppard.
Part Two of using DC’s Tyroc to consider the arc of the Black superhero.
Part one in an exploration of how the trajectory of Tyroc’s character provides a blueprint for thinking about the arc of other black superheroes.
In the final (for now) installment of the Howard the Duck reading series, we examine the duck’s shift from social satire to Marvel Comics parody.
Exploring how NYC grafitti and Gilbert Hernandez seek to DESTROY ALL LINES.
The third and final part of our round table on comics paratexts, looking at digital comics and representations of the digital in comics.
Steve Gerber’s final work on the first volume of Howard the Duck (for real this time!) feels like a losing gamble.
Guest writer Anna Peppard’s meditation on presence and absence of the Vision’s penis – and if it even matters.
BOOM! Studio’s Abbott and its illumination of whitestream culture in academia and journalism.
Batman: White Knight demonstrates the limitation of the white imaginary regarding a post-police society by simply not being be able to envision one.
Examining Howard the Duck #28 – when a Wolfman writes a duck man and ends up with a bomb.
“Slash and burn, return, listen to yourself churn. . ” as we come to the final arc of the first volume of Howard the Duck to be penned by Steve Gerber.
Laura Grafton and Andew Deman examine the intersection of Harley Quinn’s three central relationships, with the Joker, Poison Ivy, and her audience.
When it is a surprise to the editor that both stories in a comic are written and drawn by women, it takes an engaged reader to consider the actual significance.
Thinking through how personal narratives also become mediated narratives that enable queer world-building through the example of The WB’s Birds of Prey.
How the limitations of Jimmy Olsen’s transformations limn the dynamics of superhuman embodiment.