Dan Slott’s She-Hulk: Derivative Character as Meta-Comic
At the heart of Dan Slott’s run on She-Hulk is a alternately critical and nostalgic concern with continuity and rupture in serialized superhero comic books.
At the heart of Dan Slott’s run on She-Hulk is a alternately critical and nostalgic concern with continuity and rupture in serialized superhero comic books.
Understanding of the anxiety of influence is required in order to really understand sidekick superhero comics.
Jefferson Pierce’s “blackness” is explored in relation to his superheroic identity, but doesn’t get anywhere.
Miles Morales or Trayvon Martin are more likely to be victim of a “heroic” vigilante than to be one.
The very idea of a traditional family is a delusion.
Matt Fraction’s Hawkeye takes place in Bed-Stuy, but where are the black people?
The generic “human” these robots want to be is a white human.
Black Goliath is a title that never got a chance to really develop and it suffers from the problems of a lot of early attempts to bring ethnic characters into the limelight.
When superhero contingencies are indistinguishable from supervillain schemes.
More than 40 years later, Wonder Woman still has to deal with the same masculine hostility.
Imagining a different tradition for super-heroines.
This issue uses the title’s meta-position as simultaneously within and without the superhero comic genre to comment on depictions of race in comics.
Dazzler is the perfect subject for looking at the representation of sound in comics
If Banner’s anger is inextricable from his immediate social world, the Hulk’s anger is more basic, primal and constant. It is the anger of being.
If I were Sue Richards I would have divorced Reed’s ass a long time ago. .
Bathroom humor.
Seriality and Macro-closure
Subaltern characters must punch their way into the “mainstream.”
Superhero comics: insufferably weird as to become predictable
What the title says.
How do we recognize Peter Parker as Peter Parker?