Fanbase Press has one of the great unheralded stories of the comic-book publishing world. Run by Los Angeles-based husband-and-wife team Bryant and Barbra Dillon, Fanbase Press has been putting out top-notch content for the past several years. The company’s first two titles, Identity Thief and Something Animal, were both painterly explorations of dark psychosis. Since those releases, they’ve steadfastly sought out new works by talented writers and illustrators, with impressive results.
I guess it was bound to happen: Wonder Woman got a makeover.
The New York Times reports that in issue 600 of the long-running series, Diana Prince will receive a sleeker costume that takes her out of the traditional bathing suit she’s worn for years. In its place, the Amazon warrior will get slacks, boots and a leather jacket with the sleeves rolled up.
In part two of a three-part series, I look back at The Wire's strongest seasons. Let’s talk about The Wire's magnificent third and fourth seasons, which feature the most satisfying examples of thematic layering, echoing and character graduation. Season three introduces a theme so potentially boring it would have sounded death-knell for any other show: management.
You can’t get anything by me, Back to the Future! Like most geeks of my generation, I’ve seen this classic time-travel movie countless times, and over the years, I’ve compiled a modest list of tiny details I’ve noticed and would like to expound upon. These minor details span a range of categories. In some cases, they’re simply powerful moments that…
Imagine Marvel’s Doctor Strange, with all of its trippy imagery, cool psychic battles, and supernatural-bordering-on-super-science worldbuilding. Now imagine that story written by a master novelist with protean-powerful command of first person, and you’d have David Mitchell’s Slade House. Needless to say, SPOILERS LIE AHEAD!
One of the myriad pleasures of the classic TV series Twin Peaks is sensing the artistic tug-of-war between showrunners David Lynch and Mark Frost. By now it’s received wisdom that Frost—an alum of more traditional story-driven shows like Hill Street Blues—was a necessary correction for Lynch, the dreamy abstractionist.
Bob here. I met Andi Cumbo-Floyd through Twitter, where she holds weekly discussion with other writers. She's one of the kindest, most thoughtful people I've interacted with, and her writing reflects that. Besides her ongoing pursuit of creative nonfiction, Andi is also a teacher and editor. She recently launched a new online community for writers, and she maintains an artistic…
In competing narrative voices (mostly first with a dash of third), author Mayer ably explores the turbulent headspace of Quinn, a teenager with a condition known as congenital analgesia—he can't feel pain.