How Camera Angles Raise Stakes in Despicable Deadpool 297

by Patrick Ehlers

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!


Superheroes have an insane amount of mobility. Whether they’re fwipping around on spider webs, or flying through the air, or just brooding on a gargoyle on top of a skyscraper, there’s always a sense that the whole city is laid out before them. Artists can achieve this effect with dynamic camera angles, revealing the city below, and hopefully inducing a touch of vertigo in their readers. Despicable Deadpool 297 shows just how effectively Mike Hawthorne can use those same techniques to sell a change of setting and raise the stakes in Wade’s non-stop-slay-a-thon Continue reading

Daredevil 22

Alternating Current: Daredevil 22, Drew and MikyzpltkToday, Drew and Mikyzptlk are discussing Daredevil 22, originally released January  16th, 2013.

Drew: Last month, I marveled at the reveal of Otto Octavius’s Spider-Man at the end of Daredevil 21. I thought the choice of Kirsten for that first encounter was a brilliant one, since while we expect our heroes to be in the know, we’re used to civilian friends to be kind of clueless (coughJimmyOlsoncough). Of course, Marvel is playing a much longer game with Otto in the Spidey suit, so it’s a necessity that Matt not figure things out right away, either. I’m generally wary of dramatic irony that keeps the hero in the dark — it’s too often played with an obviousness that makes the heroes come off as dumb — but Mark Waid manages to find a logical, thematically resonant reason for Matt to overlook Spider-Man’s odd behavior by tying it back to his personal life. Continue reading