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!

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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