I fell in love with Bloom County at a young age, reading one of the earliest volumes that I found at a bookstore that was going out of business. As one of my first experience with comics, it was a great introduction to a world of silly gags, biting wit, and incredibly insightful observations. It's spurned a life-long love of Berkeley Breathed's work, and I was very excited to see this new volume of his work being released.

If you don’t remember exactly where the first volume of Brian Wood’s Aliens: Defiance left off, it doesn’t really matter. The first five pages is all you need to be 100% on board.

I Am a Hero Omnibus 4 may be the most visceral chapter of the series yet while retaining all of its glorious eccentricities. Hideo Suzuki and Hiromi find themselves forced to integrate with a group of survivors on top of an outlet mall as a horde of zombies below keep the survivors from precious, necessary food. These hordes of zombies aren’t your typical zombies, but Hideo isn’t your typical hero, and Hiromi is far, far, far from your typical woman in distress.

The opening epigraph of Mike Garley, Lukasz Kowalczuk, and Lukasz Mazur’s Samurai Slasher: Late Fees reads, “Remember, kiddo: not every story has a happy ending.”  This epigraph is apt, as Late Fees is an exploration of coping mechanisms that artists and everyday humans alike take on as they live and work through unhappy, and sometimes even traumatic, situations.

Hola, Wonder-Philes! This week, we’re going to discuss whether legendary comic book creator John Byrne designed Wonder Woman’s movie costume.

Gotham is the crime drama series based on DC Comics’ Batman universe. Having premiered on Fox in the autumn of 2014, the show initially focused on young versions of James Gordon (Ben McKenzie) and Bruce Wayne (David Mazouz). Over time, though, the series introduced younger iterations of well-known villains in the Batman franchise, as well as lesser-known characters to provide a wider representation of the Dark Knight’s universe. Additionally, with Season Two, the episodes were grouped into “Rise of the Villains” (Episodes 1-11) and “Wraith of the Villains” (Episode 12-22), and that concept was continued in Season Three, with Episodes 1-14 grouped into “Mad Love” and Episodes 15-22, under the subtitle of “Heroes Rise.”

The following is an interview with Steven J. Posner, co-founder and Chief Business Officer of Future Light. In this interview, Fanbase Press Editor-in-Chief Barbra Dillon chats with Posner about Future Lighthouse's launch of 3 new VR experiences at the Venice Film Festival, the creative process of working with the cast and crew of the projects, what he hopes that viewers will take away from the VR experiences, and more!

Last month, I feel as if I was writing about the Teenage Mutant Ninja Turtles all the time!  Between TMNT Ongoing, TMNT Universe, and TMNT Dimension X, I want to say I wrote about my favorite mutant superheroes (Are the any other mutant superheroes, though?) every week for more than the month of August.  But September has been quite extinct of New York’s only pizza-loving reptiles. 

Reading the first issue of Glitterbomb: The Fame Game inspired me to immediately buy the first volume on ComiXology and read it before writing this review. It’s a really good and surprisingly powerful read.

You read about cartels. You read about the violence and murder that exists south of our border. It sounds scary, frightening, and unimaginable. I know people whose family members went on vacation and simply didn’t come back alive. A location scout on Narcos was just found dead, riddled with bullets, sitting in their car. These little glimpses we see are a part of a much bigger problem that the innocent people of Mexico face and it's unreal. Mexico is not a war-torn country in the traditional sense, nor is it headed by religious extremists like places in the Middle East who want to start a war; however, a war has been raging there for some time. Sean Mackiewicz (writer) and Niko Walters (artist) use this landscape as a jumping-off point for a horror story that in their words, “ . . . is an attempt to process real-world horror, centuries of it, magnify it through genre, and learn from it.” They also say, “Gasolina is a story about Mexico. It’s about how countries impact each other. The war that’s about to erupt in these pages is a global one.” Those are some ambitious comments…and I like ambition in storytelling.

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