Replicator is the brainchild of Australian writer Robert Arnold. Arnold’s creative team includes Bosnian artist Armin Ozdic (named Best Young Balkans Comic Book Artist), colorist Ross A. Campbell who has worked with mainstream publishers such as Image, Top Cow, Aspen, Zenescope, Dynamite, and Action Lab, and letterer Jamie Me (The Forgotten Man, Cavemen vs. Zombies). The first issue has been edited by Nick Glenister and Alison Arnold.
The following is an interview with Malik B. El-Amin and Kate Jopson, the producer and director (respectively) of Griot Theatre's currently running production of An Accident. In this interview, Fanbase Press Editor-in-Chief Barbra Dillon chats with El-Amin and Jopson about the inspiration behind the production, what enticed them to bring the show to the Griot stage, the creative process of the cast and crew, and more!
What makes Hermione Granger one of the best fictional characters? Is it simply J.K. Rowling’s keen ability to tell a story and craft incredible characters? Was it Emma Watson’s wonderful portrayal in the film series? Or perhaps there’s something more. Perhaps readers find something in her character to cheer for, to believe in, and maybe, just maybe, something we hope to see in ourselves.
Rugrats #1 serves as a reminder that there is still a place for Rugrats in our world. It's been a long time since the characters from Rugrats took another form in All Grown Up!, where teenage versions of the characters took focus beginning in April 2003 and lasting until August 2008. It was the next step for the characters but not much was done with them following the series. Tommy Pickles and the gang vanished from pop culture until now with this series. If you read it, you can already hear the voices of the actors who originally portrayed the characters. It's remarkable how much Box Brown, the writer, is able to recreate the voices of the characters. The art by Lisa DuBois also serves to show just how great the story can come about.
The following is an interview with D.J. Kirkbride, Adam P. Knave, and Nick Brokenshire, the creative team of the comic book series, The Once and Future Queen, which will be releasing the collected trade paperback on Wednesday, November 1, from Dark Horse Comics. In this interview, Fanbase Press Contributor Erica McCrystal chats with Kirkbride, Knave, and Brokenshire about the inspiration for the series, their shared creative process, what the team has planned for the continuation of the series, and more!
Hey, guys! Welcome back to another exciting week of Wonder Woman Wednesday! This week, we’re going to talk about James Robinson’s long-anticipated story arc introducing the controversial brother of Wonder Woman, Jason.
Production began last week on James Cameron’s very-long-in-gestation sequels to Avatar. At the same time, Fox announced last week that the four (Four!) sequels to the biggest international hit of all time will cost $1 billion to produce. The film world seemed to gasp a bit at the price tag, but $250 million per film isn’t all that unheard of when it comes to giant films like this, and Cameron will no doubt be doing what he always does and push the limitations of what’s possible on film. Titanic cost $200 million to make, and that was 20 years ago. Adjusted for inflation, Titanic would cost $305 million to make today. Rumors at the time suggested the first Avatar cost $500 million to make because of all of the R & D that went into creating it. These new Avatar films are a relative bargain by comparison. The original Avatar made $2.7 billion worldwide. Even if the interest for the sequels isn’t there and the four new films each make 50% less than the original, you’re still looking at a collective $5.4 billion gross against a $1 billion budget. Greenlighting this project is the biggest possible no-brainer short of printing your own money.
The following is an interview with David Rubin, artist for the comic book series, Sherlock Frankenstein & the Legion of Evil, to be released this Wednesday, October 18, from Dark Horse Comics. In this interview, Fanbase Press Editor-in-Chief Barbra Dillon chats with Rubin about the inspiration for the series - given its expansion from the Black Hammer comic book series, the creative process of working with writer Jeff Lemire, what the team has planned for the continuation of the Black Hammer story, and more!
In a way, this issue of Dept.H is the beginning of the next story arc in what is an ongoing murder mystery series that is both microscopic and macroscopic, personal and world changing. At the end of issue #18, Matt Kindt left us with a big question mark. Mia - our investigator and daughter of the murdered genius scientist who put together not only the underwater scientific base, but the crew on board it - found herself in a small capsule at the bottom of the ocean with no power and very little oxygen. With her is the remaining crew, one of which may have killed her father. It’s one of those resting moments, where a story plateaus for a moment. In this case, it was quiet…claustrophobic. It ended a section of the story in a way that spelled oblivion.
I think we often lose track of comics that came out in the early 1950s. It wasn’t a great time for superheroes, the medium’s most enduring genre, and historically the publications themselves get drowned out in the story of Fredric Wertham’s Seduction of the Innocent and the firestorm it provoked. At the center of that fascinating story – the controversies and hearings that gave way to the Comics Code – was Bill Gaines and EC Comics, a highly successful publisher of (at the time) horror and crime stories, in particular. Gaines fought against the censorship ultimately imposed by the Comics Code, not just because it meant that many of the books EC published would have to be scrapped – though that was true – but because the censorship was bad for the medium and the goal of telling more mature, involved stories. Gaines lost that fight, and in 1955, the year after the Comics Code Authority banished horror and crime comics (and, really, anything remotely objectionable) to the ether, EC tried to rebound with its New Direction line.