#abraham riesman

[revolutionaryjackelving]

Re-Examining Spider-Man 03 - Teenage Origins & Cultural History

"How is it that the most famous superhero to originate as a teenager, was developed by two men who never knew the word teenager even when they were teenagers?" Find out in Re-Examining Spider-Man 03 - Teenage Origins & Cultural History

Original prototype Logo of Spiderman, developed by Joe Simon. Here’s a fundamental question to ask with the development of Spider-Man? How is it that the most famous superhero to originate as a teenager, was developed by two men who never knew the word “teenager” even when they were teenagers? Where, when, and at what stage did the concept of “the teenager” enter into the development of the…

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[boiledleather]

8 Comics You Need to Read This June

Mirror Mirror II by various (2dcloud)

There was a time when you could rely on comic books for bone-deep terror — the early-1950s was the heyday of horror tales produced by publishers like EC Comics. Alas, that heyday was cut short by a moral panic and a subsequent regime of censorship, and horror comics never quite recovered as a phenomenon. Thank goodness, then, for Mirror Mirror II, a new collection of short horror pieces edited by Sean T. Collins (who is a contributor to Vulture) and Julia Gfrörer. It awakens the long-underused genre and pushes your fear buttons in ways you could never have anticipated. It’s hard to pick the most memorably mind-devouring portion: Is it cartoonist Mou’s tale of a guy who one day finds himself painfully ejaculating letters that spell out a set of cryptic sentences? Or filmmaker Clive Barker’s painted vignettes of savaged and distorted human figures? Or Al Columbia’s unnerving single-panel depictions of old-timey cartoon characters engaging in unspeakable acts? Open wide and decide for yourself.

Abraham Riesman included our book MIRROR MIRROR II in his list of the month’s must-read comics for Vulture. I’m pretty sure you’ll be able to get it one way or the other -- retail or online -- either at the very end of the month or the very beginning of July. I can’t wait till you all can see it.

[got-the-wright-stuff]

Edgar Wright and Abraham Riesman at Vulture Festival

[comixology]

In this SUPER GIANT EXTRA AWESOME podcast episode Lou welcomes special guests Daniel Kibblesmith and Abraham Riesman to talk comics together as friends!

Primary topic this episode: we talk about Valiant High and the books we are reading! Other topics include Robocop because of course, getting into comics as young people, VALIANT HIGH IS SO GOOD, Teen Ninjak, Bruce Wayne: The Lost Years, Abe sharing something that may create a new fan, reading novels, Chip Mosher out of nowhere back on the podcast after 10 years, LOGAN, Love & Rockets, Chip and Miracle Man, #tweetsofdoom and your letters!!

[nerdistindustries]

Comic Book Club: Abraham Riesman vs The New Year

http://bit.ly/2j7aL13

#AbrahamRiesman, #ComicBookClub

[revolutionaryjackelving]

Book Review: "All of the Marvels" by Douglas Wolk (2021)

My review of @douglaswolk's "All of the Marvels"

All of the Marvels: A Journey to the Ends of the Biggest Story Ever Told is a book about Marvel Comics and specifically 616 Marvel Comics. The author Douglas Wolk, a comics scholar, took upon himself the task of reading every single Marvel comic in continuity from the beginnings to his cut-off point off in 2017. After five years of labor, the book is ready and out on the shelves, and I selected…

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[revolutionaryjackelving]

Joker's Revenge: Conscience of the Bat

A long post in the making. A deep dive into the Batman-Joker rivalry, and how The Killing Joke etched it into stone, making Joker Batman's guilty conscience.

In popular culture today, Batman-Joker is the apex hero-archnemesis conflict. There’s a mythical quality to their rivalry and much debate about what it signifies. I’d like to contribute to that debate by doing a close-reading of the comic that really defined it: The Killing Joke. I argue that it transformed Joker’s role in the narrative of Batman as his guilty conscience. My idea of the “guilty…

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[combatfaerie]

Here lies one of the grand, tragic ironies of wrestling: much like with ballet, in order to achieve success as a wrestler, you have to want it to a degree that is both inspiring and objectively unhealthy. You have to love it more than you love your own body and mind. Your love has to overcome your instincts for self-preservation, let alone self-interest. That love, once it burns, is hard to snuff out.

from RingMaster: Vince McMahon and the Unmaking of America by Abraham Riesman