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...world still has Alan Moore, the English comicbook writer who first achieved stateside acclaim in the 1980s with "The Watchmen." For the last couple of years Moore has been the principle writer of multiple titles under the America's Best Comics imprint of Wildstorm Productions (an imprint of DC Comics, a subsidiary of TIME.com's parent corporation, AOL Time Warner). Out of the various projects, "League of Extraordinary Gentlemen," "Tom Strong," and "Top Ten" among them, one title has particularly stood out. "Promethea" has just finished, with issue 23, a remarkable ten-issue story that can be described as nothing...
...continues to mine two inexhaustible resources: the DC Comics library and the young male appetite for hot superheroines. The Huntress (Batman and Catwoman's daughter), wheelchair-bound Oracle and psychic Dinah fight crime while looking slick and zinging the requisite self-conscious jokes ("Is your spider-sense tingling?" one Bird needles another). But flat performances and stock comic-book story lines keep Birds grounded...
...ornery Batsy. But, as the series goes on, more and more secondary characters get piled on, reducing the Dark Knight to little more than a small part in his own book. Worse, the vast majority of these appearances will mean little to anyone not already familiar with the "DC Universe." Reading the book becomes too much like watching Frank Miller play with someone else's dolls...
...opening weekend, continuing the trend of successful movie adaptations of non-superhero graphic novels. Last year's quirky "Ghost World," based on the Dan Clowes book, and "From Hell," the Jack-the-Ripper story by Alan Moore, both became box-office hits. Originally published in 1998 by the DC Comics imprint Paradox Press, "Road to Perdition" (304 pp.; $13.95), written by Max Allan Collins and drawn by Richard Piers Rayner, has been reprinted to coincide with the release of the movie, directed by Sam Mendes and starring Tom Hanks. Except for a pair of sharp-eyed Hollywood producers, the book...
...reason that the character Peter Parker (a.k.a. Spider-Man) and many of the other Marvel comic-book heroes strike a chord with my generation is that Parker is a conflicted young man. Our connection to his confusion makes him much more relevant than the do-gooder musclemen that DC Comics and others have produced. That Hollywood could stay so true to Spider-Man's character is admirable indeed. Moviemakers should have opened the comics a long time ago, really read them and listened to comic-book artists and writers. After Spider-Man racks up several hundred million by staying true...