MINUTES TO MIDNIGHT examines WATCHMEN from a variety of perspectives and uncovers surprising answers about the history of scientific theory, the atomic bombing of Hiroshima, WATCHMEN's murder mystery, Rorschach and Steve Ditko, the secrets of Captain Metr
Grant Morrison redefined comics in the 1980s and early '90s, from his trailblazing creation of ZENITH, through his metatextual innovations in ANIMAL MAN, to his Dadaist super-heroes in DOOM PATROL. Along the way, he also addressed Batman with his multi-la
PLANETARY excavated the secret history of the super-hero genre and in the process helped set that genre's future. KEEPING THE WORLD STRANGE offers an archaeology of the archaeologists, examining PLANETARY and revisionism, decompression, future studies, pr
Published in 1997-2002, Warren Ellis and Darick Robertson’s TRANSMETROPOLITAN became famous for its foul-mouthed protagonist, Spider Jerusalem, and his “filthy assistants.” But it’s also a long-form comics masterpiece, a sci-fi comic that succeede
This essay collection, from fans and scholars alike, is as diverse as Legion history. Essays examine significant runs (by Jim Shooter, Paul Levitz, and Keith Giffen); the Legion's science, future architecture, and fashion; the role of women, homosexuality
Published in 2002-2003, Grant Morrison and Chris Weston’s THE FILTH is disgusting, deeply disturbing, and a comic-book masterpiece that inoculates readers against the problems of the postmodern condition.So says Tom Shapira, who also explores THE FILTH�
In 2010 and 2011, legendary comic-book creator Warren Ellis sat down over several days to film career-spanning interviews for the documentary film WARREN ELLIS: CAPTURED GHOSTS. In these extensive interviews, Ellis discusses his life, his work, and his th
For half a century, Daredevil has been an outsider and a paradox, a loner, a down-to-earth super-hero, a blind man with super-powers, and the star of some of Marvel’s most celebrated stories.THE DEVIL IS IN THE DETAILS examines both Daredevil and his al
From 1966 to 1968, both on ABC and in theaters, America embraced Batman as a campy cultural icon. But in the ensuing decades, many vilified the show as an embarrassment that needed to be swept under the rug if Batman -- and super-heroes -- were to be take
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